Sale 1057 | American & European Art

AMERICAN & EUROPEAN ART 27 SEPTEMBER 2022

SALE 1057 27 September 2022 10am CT | Chicago Lots 1–118 PREVIEW September 19-23 | 10:00am - 4:30pm September 24 | 10:00am - 2:00pm September 25 | 12:00pm - 3:00pm September 26 | 10:00am - 4:30pm Or by appointment PROPERTY PICK UP HOURS Monday - Friday | 9:00am - 4:00pm By All312.280.1212appointmentpropertymust be paid for within seven days and picked up within thirty days per our Conditions of Sale. European Art | Lots 1-87 4-73 American Art | Lots 88-118 74-100 Artist Index 101 Hindman Team 102 Upcoming Auction Schedule 103 Inquiries 104 Conditions of Sale 106 COVER Lot 22 All lots in this catalogue with a lower estimate value of $5,000 and above are searched against the Art Loss Register database To view the complete catalogue, sign up to bid, and read our Conditions of Sale, visit hindmanauctions.com or the Hindman App. All bidders must agree to Hindman’s Conditions of Sale prior to registering to bid. DEN 1057930 FL AB3688 GA AU-C003121 IL MOOH444.0005212019000131STL107286 Download the Hindman App for iOS and Android © Hindman LLC 2022

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CONTENTS

AMERICAN & EUROPEAN ART

A Private Collection, Chicago, Illinois A Private Collection, Illinois A Private Collection, Southwest Florida A Michigan Collector

PROPERTY FROM THE COLLECTIONS OF Noel DimitriosDavisand Christine Sereleas, Chicago, Illinois

A Lady, Nevada A Renowned Art Dealer, New York City, New York An Estate, Beverly Hills, California A Private Estate, Colorado

PROPERTY SOLD TO BENEFIT

OPPOSITE Lot 100

James and Patrice Schoonmaker, Naples, Florida

Michael L. Wilkie, Chicago, Illinois Bud and Donna O. Wilkinson

The Lois Ehlert and John Reiss Memorial Scholarship Fund at the Milwaukee Institute of Art and Design

PROPERTY FROM THE ESTATES OF John J. Reiss Virginia H. Rogers, Chicago, Illinois

Joanne Wojtusiak, Cornwall Bridge, Connecticut

3FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

5FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM OPPOSITE Lot 19 EUROPEAN ART LOTS 1-87

WillLiterature:Grohmann, Paul Klee. Handzeichnungen 19211930, Potsdam/Berlin, 1934, no. 81 Will Grohmann, Paul Klee, Genf/Stuttgart, 1954, Gualtieriillus. di San Lazzaro, Klee. La vie et l’oeuvre, Paris, 1957, illus. Will Grohmann, Der Maler Paul Klee, Cologne, 1966, Tilmanillus. Osterwold, Paul Klee. Die Ordnung der Dinge, exh. cat., Stuttgart, 1975, no. 152, illus. Shelly Cordulack, “Navigating Klee,” Pantheon 56, 1998, p. 146 The Paul Klee Foundation (ed.), Paul Klee. Catalogue raisonné, Volume 5 1927-1930, Bern, 2004, p. 100, no. 4329, illus. $15,000 - 20,000

MilwaukeeExhibited:

6 AMERICAN & EUROPEAN ART 1 Paul Klee (German, 1879–1940) Orientierter Mensch, 1927 pen on paper mounted on the artist’s board signed Klee (upper left); titled, dated, and inscribed B 6 (lower center of mount); inscribed 27 (upper 12right)1/4 x 9 1/2 inches. Property from the Estate of John J. Reiss, sold to benefit the Lois Ehlert and John Reiss Memorial Scholarship Fund at the Milwaukee Institute of Art and Design

LilyProvenance:Klee,Bern, Klee-Gesellschaft,1940-46Bern, 1946-1950 Curt Valentin Gallery (Bucholz Gallery; Valentin Gallery), Berlin/New York, 1950-55

Art Center, Collection of John J. Reiss, December 15, 1960 - January 15, 1961, no. 59 (as Well Informed)

LilyProvenance:Klee,Bern, Klee-Gesellschaft,1940-46Bern, 1946-50

2 Paul Klee (German, 1879–1940)

Katastrophe, mit dem Blutenden Hund, 1922 pen on paper mounted on the artist’s board signed Klee (lower right); titled (lower right); inscribed 22 9/12 (lower center); dated and inscribed (lower left of mount) 6 x 8 3/4 inches.

The Paul Klee Foundation (ed.), Paul Klee. Catalogue raisonné, Volume 3 1919-1922, Bern, 2004, p. 451, no. 3018, illus. $10,000 - 15,000

WillLiterature:Grohmann, Paul Klee. Handzeichnungen 19211930, Potsdam/Berlin, 1934, no. 55

Property from the Estate of John J. Reiss, sold to benefit the Lois Ehlert and John Reiss Memorial Scholarship Fund at the Milwaukee Institute of Art and Design

MilwaukeeExhibited: Art Center, Artist Looks at Children Exhibition, October 31, 1959 - February 14, 1960

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Curt Valentin (Bucholz Gallery; Valentin Gallery), Berlin/New York, c. 1950

Property from the Collection of James and Edythe Cloonan, Chicago, Illinois

Purchased from the above by the present owner, May 10, AliceLiterature:1985Strobl,Gustav Klimt, Die Zeichnungen 19041912 II, Salzburg, 1982, p. 144, no. 1666, illus. $30,000 - 50,000

8 AMERICAN & EUROPEAN ART 3 Gustav Klimt (Austrian, 1862–1918) Untitled (Standing, forearms raised, facing right) graphite and colored pencil on paper stamped with the Nachlass stamp (lower right) 21 3/4 x 14 1/4 inches.

TheProvenance:Piccadilly Gallery, London (label verso)

JacquesLiterature:Dupin, Joan Miró: catalogue raisonné: drawings, Paris, 2011, vol. 2, p. 185, no. 1184, illus. $15,000 - 20,000

PierreProvenance:Matisse Gallery, New York John J. Reiss, Milwaukee, Wisconsin, by 1962

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4 Joan Miró (Spanish, 1893-1983) Untitled, 1949 oil, watercolor, pastel crayon, and charcoal on paper signed Miró and dated (verso) 13 x 10 inches.

Property from the Estate of John J. Reiss, sold to benefit the Lois Ehlert and John Reiss Memorial Scholarship Fund at the Milwaukee Institute of Art and FrameDesignverso bears a letter written by Joan Miró to John Reiss, dated July 31, 1962.

MilwaukeeExhibited: Art Center, Wisconsin Collects, September 24 - October 25, 1964

10 AMERICAN & EUROPEAN ART 5 Camille Pissarro (Danish/French, 1830-1903) Éragny, watercolor1891on paper signed C. Pissarro (lower right); dated and titled (lower left) 5 1/2 x 7 inches. We wish to thank Dr. Joachim Pissarro for confirming the authenticity of the present lot, which will be included in the forthcoming Catalogue Raisonné of drawings and watercolors by Camille Pissarro. CollectionProvenance:of Merrill Chase, Chicago Private Collection, acquired from the above, by 1981 Bears on the frame verso certificate no. 4585, issued from Paule Cailac, dated March 15, 1980. $10,000 - 15,000 Camille Pissarro lived in the small village of Éragny from 1884 until his death in 1903. During those years, Pissarro made numerous paintings and watercolors of the village and its surrounding countryside. During the early 1890s Pissarro showed a renewed interest in climatic occurrences such as fog, hoar frost, mist, the changing seasons, and the different effects of the sun, which he had first essayed during the 1870s. Often Pissarro inscribed his watercolors of this period with the date and details about the weather and/or time of day, as he did on this occasion with the inscription EragnyJuin Éragny91 is a watercolor, a medium favored by Pissarro from the second half of the 1880s onwards. Watercolors enabled Pissarro to give free expression to those sensations he experienced before nature and at the same time to produce works quickly and were easier to sell. The artist often evokes the powerful qualities he found in watercolor in his correspondence. He said to his eldest son, for instance: “Il ne faut chercher que des sensations directes et instantanées. Rappelle-toi que l’aquarelle est un bon moyen pour aider la mémoire, surtout dans les effets fugitifs; l’aquarelle rend si bien l’impalpable, la puissance, la finesse” (translation: You should only try to reach your direct sensations of the moment, especially when it comes to capturing fugitive effects. Watercolor translates so well the intangible and powerful finesse of the instant.” (Letter to Lucien, 13 May 1891. Correspondance de Camille Pissarro, ed. J. Bailly-Herzberg, Paris, 1988, vol. 3, p. 81). By 1891, Pissarro had in mind to organize an exhibition of his recent watercolors of which he was quite proud. Pissarro wrote, “J’ai fait monter sur papier libre toutes mes aquarelles, que je mets en séries dans des cartons, afin de ne pas les laisser traîner. Si je pouvais les exposer? … J’en ai cent soixante et une. Georges trouve qu’elles sont beaucoup plus belles que ma peinture” (translation: I have mounted all my watercolors, and I am arranging them in portfolios so that they do not get scattered around. What if I could exhibit them? … After all, I have 161. Georges [the artist’s second son] finds them more beautiful than my paintings.”) (Letter to Lucien, 14 January 1891, BaillyHerzberg, p. 21; Rewald, 1943, p. 146).

This particular work appears to be most closely related to another watercolor by Pissarro titled Effet de Soleil of c. 1890, illustrated in Marie-José Pellé’s book “Vert Pissarro…” Impressions de Normandie et d’ailleurs. The two watercolors are compositionally, technically, and stylistically similar. They appear to depict the sun shining over the meadows surrounding the village. Another watercolor depicting the sun over the meadows of Éragny in a similar way and with the same title as the current watercolor, Éragny, was sold at Bonham’s, London (October 10, 2019, Lot 64). In these watercolors, Pissarro appears to be studying the effects of the sun. By using different angles the artist often played with various viewpoints. Pissarro made several beautiful watercolors of motifs at Éragny during the second half of the 1880s and 1890s partly as an antidote to the slow, methodical and disciplined pointillist style he was using for his paintings at that time.

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12 AMERICAN & EUROPEAN ART6Jean-François Millet (French, 1814-1875) Peasants Unloading Sacks From a Horse charcoal on paper stamped J.F.M. (lower right) 8 x 6 3/8 LeicesterProvenance:inches.Galleries,

London Major G.H.F. Abraham, London Sold: Sotheby’s, London, June 24, 1987, Lot 559 Sold: Sotheby’s, New York, October 26, 2006, Lot 301 Acquired at the above sale by the present owner

Peasants Unloading Sacks from a Horse was drawn by Jean-François Millet during the years just before or after his move from Paris to the village of Barbizon in 1849. The work is a preparatory study for a finished composition of farmers carrying grain into a mill or a granary, one version of which has been lost since early in the 20th century; the second version was sold in New York in the 1980s. $2,000 - 4,000

London,Exhibited:Leicester Galleries, 1956

13FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 7 Jean-François Millet (French, 1814-1875) Jeune Femme aux Trois Enfants and Études des figures (a double-sided drawing) charcoal on paper (double-sided drawing) stamped J.F.M. 11 5/8 x 8 1/8 inches. Sold:Provenance:Galartis, Lausaunne, December 10, 2011, Lot Acquired784 at the above sale by the present owner $4,000 - 6,000

Drawing had always been an important part of Matisse’s oeuvre. In ‘Notes of a Painter on his Drawing’ of 1939, the artist had written of how line drawing was “the purest and most direct translation” of his emotion because it was a simplified medium (The Drawings of Henri Matisse, p. 122). The present work shows Matisse as a tireless innovator who sought to capture the world around him with a deliberate economy of means. And, as he had said, the labors involved are deceptively hard to detect. Rather, the landscape has a lyricism and fluidity that speaks of the artist’s apparent ease with drawing. Matisse created a visual language perfectly suited to the atmosphere of sensuality and beauty that he sought to communicate.

14 AMERICAN & EUROPEAN ART 8 Henri Matisse (French, 1869–1954) Vence, 1947 pen and India ink on paper signed H. Matisse, dated août 47, and inscribed VENCE (lower right) 16 x 20 7/8 inches. This lot is accompanied by a photo-certificate issued by Wanda de Guébriant and dated Paris, le 20/2/85.

AcquavellaTheProvenance:Artist’sEstateGalleries, New York Sharyn Bey, purchased from the above, c. 1987 Sold: Christie’s, London, February 3, 2010, Lot 243 Acquired at the above sale

PierreLiterature:Schneider, Matisse, New York, 1984, p. 739, $40,000illus. - 60,000 “I have always tried to hide my own efforts and wished my works to have the lightness and joyousness of a springtime which never lets anyone suspect the labours it has cost (Matisse, quoted in L. Delectorskaya, With apparent ease... Henri Matisse: Paintings from 1935-1939, trans. O. Tourkoff, Paris, 1988, p. 85).

Vence, 1947, with its rhythmic whorls and assured lines, depicts the lush landscape of southern France. The arching branches and stately trees in the composition frame the bell tower of the town’s cathedral. Matisse had relocated to Vence in July 1943 to flee the bombardment of Nice, where he had previously spent most of his time. He eventually bought a home in the medieval town. Previous to his move, in 1941 the artist was diagnosed with abdominal cancer and underwent surgery that left him reliant on a wheelchair. Painting and sculpture became physical challenges, so Matisse instead turned to alternative mediums, including drawing. It was at this point that the artist, a notoriously dissatisfied perfectionist, began to appreciate his own works. In 1942, he wrote that, “For a year now I’ve been making an enormous effort in drawing. I say effort but that’s a mistake, because what has occurred is a floraison after fifty years of effort” (Matisse, quoted in Elderfield, The Drawings of Henri Matisse, exh.cat., London & New York, 1985, p. 16).

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16 AMERICAN & EUROPEAN ART 9 Henri Lebasque (French, 1865–1937)

Le Port de Cannes watercolor and graphite on paper signed H. Lebasque (lower left) 12 x 17 1/2 inches. The authenticity of this lot has previously been confirmed by Denise Bazetoux.

Sold:Provenance:Sotheby’s New Bond Street, London, October 25, 2000, Lot 168 Acquired at the above sale $2,000 - 4,000

Sold:Provenance:Christie’s South Kensington, London, March 21, 2002, Lot 31 Acquired at the above sale $2,000 - 4,000 10 Henri Lebasque (French, 1865–1937)

L’Île d’Yeu, Voiliers à Marée Basse watercolor, gouache, and graphite on paper signed Lebasque (lower right) 10 1/2 x 17 1/4 inches. This lot is accompanied by a photo-certificate issued by Denise Bazetoux and dated le 9 août 2000

Collection Sold: Christie’s, London, December 10, 1997, Lot 183 Sold: Christie’s South Kensington, London, December 7, 1998, Lot 47 Galerie Fanny Guillon-Lafaille, Paris (label verso)

FannyLiterature:Guillon-Laffaille, Catalogue raisonné des aquarelles, gouaches et pastels de Raoul Dufy, online catalogue, no. As-0840, illus. $15,000 - 25,000

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11 Raoul Dufy (French, 1877-1953) La Relève de la Garde, 1933 gouache on paper signed Raoul Dufy (lower right) 19 1/2 x 25 1/2 inches.

Stuttgart,Exhibited: Kunsthaus Bühler, Raoul Dufy, Gemälde, Aquarelle, Gouachen, Zeichnungen, June 10 - July 29, 1995, p. 65, illus.

GérardProvenance:Oury

PrivateProvenance:Collection, Japan, by 1986 Acquired from the above Sold: Christie’s, London, June 25, 2008, Lot 250 Acquired at the above sale $80,000 - 120,000

Les amoureux à la fenêtre is a touching and resonant example of this mixture of memory, fantasy, and yearning. In the present drawing, a man in a purple sweater caresses a nude woman, their foreheads leaning into one another in a moment of intimacy and tenderness. She wears nothing save for a necklace, the pearls uniting with the ringlets of hair cascading down her neck. Above them, the window emphasizes the viewer as voyeur into this erotic display, even as the viewer is displaced from the window itself. Around them a host of diminutive figures, some real and some imagined, unite passion with music: a fiddler in green plays a song of love, an angel descends from above, and a cow and two roosters, among Chagall’s favorite animals, join in the dance. Two other nude women appear in the drawing, one contained within the sleeve of the man, another looking on from over the man’s collar –each obscuring the identity of the subject of the man’s affection.

Given his meditations on memory and faith, Chagall’s images of youthful lovers and newlyweds are religious as well as autobiographical. The sexuality displayed here harkens to erotic passages from the Song of Solomon, which can be read literally as impassioned love songs or allegorically as expressions of faith. But in 1981, Chagall was in his mid-nineties – he had known and lost love. His first wife, Bella Rosenfeld, had been his companion since he began his career in Vitebsk. His great early paintings of lovers, embraced and floating in the sky, had each been a valentine to her. After Bella’s sudden death in 1944, Chagall remained a widower until 1952 when his daughter Ida introduced him to Valentina “Vava” Brodsky. The two soon married. Does this drawing then show the romance of this new union? Does the youth of the couple indicate a memory of Bella rather than his second marriage in older age? Do the other nude figures personify past loves? In his reminiscence, and self-awareness at this late stage in life, the ambiguity is surely purposeful.

18 AMERICAN & EUROPEAN ART 12 Marc Chagall (French/Russian, 1887–1985) Les Amoureux à la Fenêtre, 1981 watercolor, pastel, pen and India ink and wash on stampedpaper with signature Marc Chagall (lower right) 13 3/4 x 10 3/8 inches. The authenticity of this lot has previously been confirmed by the Comité Chagall and is accompanied by a photo-certificate issued by the Comité and dated October 11, 2007

By the time of his death in 1985, the name of Marc Chagall had become synonymous with Modern art. Born in present-day Belarus, the self-taught artist emigrated to Paris from Vitebsk in 1910. There, confronted with the clamor of modernity and community shared with names like Picasso and Apollinaire, Chagall began a career that fused memory, emotion, and spirituality into paint. He would stay in France for the remainder of his life, only interrupted by a period in the United States between 1941 and 1948 to escape Nazi persecution. It is striking, following the progression of his career, the persistence of his themes and images – some based on his rural upbringing in Russia and others on his religious reflections. The images of the rooster and the cow, and especially the images of the floating lovers, have their origins in the artist’s earliest works of his Vitebsk period. (James Johnson Sweeney, interview with Chagall, 1944)

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Cassatt’s characteristically assured strokes of pink, yellow, black, and even blue pastels skillfully render their heads. The woman’s face is cast downwards, seemingly lost in maternal thoughts, while the baby gazes forward into an unknown future. Like many artifacts from the fair, the Modern Woman mural has been lost to time. It is only in works such as Woman and Child in Front of a Fruit Tree that Cassatt’s transgressive and hopeful message lives on.

Vollard, Paris Private Collection, New York, 1940s Adelson Galleries, New York, 2009 Hammer Galleries, New York, 2011 Purchased from the above by the present owner

(likely)Provenance:Ambroise

20 AMERICAN & EUROPEAN ART 13 Mary Cassatt (American, 1844-1926) Woman and Child in Front of a Fruit Tree, 1893 pastel on paper signed M Cassatt (upper right) 17 1/2 x 15 1/2 inches. This work is included as no. 1132 in the Cassatt Committee’s revision of Adelyn Dohme Breeskin’s catalogue raisonné of the works of Mary Cassatt.

- 90,000 Dated to 1893, the present pastel is likely part of a series of works associated with Mary Cassatt’s Modern Woman mural. This mural was one of the American impressionist’s most ambitious and largest projects, created for the Woman’s Building at the 1893 World’s Columbian Exhibition in Chicago. Along with its companion, Primitive Woman, painted by Mary Fairchild MacMonnies, the two murals celebrated women’s progress and achievements through history. The large artworks were commissioned by Bertha Palmer, the President of the Board of Lady Managers and wife of Potter Palmer, a real estate developer, businessman, and owner of Chicago’s famous Palmer House. Mrs. Palmer was the driving force behind the success of the Woman’s Building, which lauded the accomplishments of women artists, poets, educators, and reformers and became one of the fair’s most popular attractions. Designed by Sophia Hayden, the first professionally trained woman architect in the United States, the Woman’s Building included a two-hundred-foot-long, double-storied central court. The murals were placed at each end, with MacMonnie’s work on the north tympana and Cassatt on the south. Palmer’s directive to the two artists was to depict “…something symbolic showing the advancement of woman. My idea was that perhaps we might show woman in her primitive condition as a bearer of burdens and doing drudgery…and as a contrast, woman in the position she occupies today” (Sally Webster, Eve’s Daughter/Modern Woman: A Mural by Mary Cassatt, Urbana, 2004, p. 62). Done in three panels, Cassatt’s mural was a contemporary allegory titled “Young Girls Pursuing Fame,” “Young Women Plucking the Fruits of Knowledge or Science,” and “The Arts, Music, Dancing.”

NewExhibited:York, Hammer Galleries, On Paper: Impressionist, Modern and Post-War Masters, May 28 - August 31, 2012, p. 6, illus. New York, Hammer Galleries, Winter 2013: Selected Works by Grandma Moses and Other American Masters, February 11 - March 31, 2013 New York, Leila Heller Gallery, Look at Me: Portraiture from Manet to the Present, May 8August 14, 2014, illus. (on loan from Hammer $70,000Galleries)

Woman and Child in Front of a Fruit Tree most closely relates to the subject matter of the central panel “Young Women Plucking the Fruits of Knowledge or Science,” and is likely a study for an oil painting, Child Picking a Fruit (Virginia Museum of Fine Arts, Richmond, Virginia), also related to the mural (Adelyn Dohme Breeskin, Mary Cassatt - A Catalogue raisonné of the oils, pastels, watercolors and drawings, Washington DC, 1970, p. 108, no. 216). The theme of this panel likely refers to the recently acquired access to college education by women. Set in an Eden with no Adam or Serpent, Cassatt’s work shows modern Eves gathering the fruits of knowledge and passing them from one generation to the next. The artist’s positive spin on Eve’s disobedience is linked to the new feminist theology articulated by American activist Elizabeth Cady Stanton, who maintained that without Eve’s subordination, “humankind would remain forever indifferent to the power of the intellect” (Webster, p. 78). Although the present pastel does not directly refer to a specific scene within the mural, a woman holds a young child, with vivid green fruit hanging on a tree behind them, ripe and ready for picking.

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22 AMERICAN & EUROPEAN ART 14 Maurice Utrillo (French, 1883–1955) Rue Saint Vincent, 1928 gouache and watercolor on paper signed Maurice Utrillo, V. and dated (lower left) 20 1/4 x 15 1/8 inches.

GalerieProvenance:Bernheim-Jeune, Paris (no. 25535) The Modern Art Gallery Ltd., London Sold: Sotheby’s, South Africa, October 30, 1975, Lot 31 Acquired at the above sale Sold: Christie’s South Kensington, London, June 19, 2007, Lot 191 Acquired at the above sale

PaulLiterature:Pétridès, L’oeuvre Complet de Maurice Utrillo, vol. IV, Paris, 1966, p. 215, no. AG199, illus. $20,000 - 30,000

La Baie de St. Tropez watercolor and pen and ink over graphite on paper signed A. Dunoyer de Segonzac (lower left) 18 3/4 x 24 3/4 inches.

GalerieProvenance:inches.Pétridès,Paris, 1956 J. Forêt, Paris Sold: Christie’s South Kensington, London, December 8, 1997, Lot 235 Acquired at the above sale

PaulLiterature:Pétridès, L’Oeuvre complet de Maurice Utrillo, vol. IV, Paris, 1966, p. 451, no. AG549, illus. $15,000 - 25,000 16 André Dunoyer de Segonzac (French, 1884–1974)

15 Maurice Utrillo (French, 1883–1955)

La Madeleine, c. 1953-54 gouache and graphite on paper signed Maurice Utrillo, V. (lower right) 12 1/2 x 9

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Sold:Provenance:Sotheby’s, New York, February 11, 2004, Lot 46 Acquired at the above sale $2,000 - 4,000

Sold:Provenance:Sotheby’s, Paris, December 13, 2007, Lot 132

18 Albert Marquet (French, 1875–1947)

Rue bordée d’arbres watercolor and pen and ink over charcoal on paper signed A. Dunoyer de Segonzac (lower right) 21 3/4 x 30 1/4 inches.

Acquired at the above sale $6,000 - 8,000 17 André Dunoyer de Segonzac (French, 1884–1974)

Sold:Provenance:Sotheby’s, London, March 29, 2000, Lot 165 Acquired at the above sale $2,000 - 4,000

24 AMERICAN & EUROPEAN ART

Banlieue de Paris (Bord de Seine), 1905 watercolor over charcoal on paper signed Marquet (lower right) 9 1/4 x 12 3/8 inches. This lot is accompanied by an Attestation of Inclusion from the Wildenstein Institute, issued by Jean-Claude Martinet and dated 22 Juillet 1987.

25FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 19 Albert Marquet (French, 1875–1947) Port de La Rochelle oil on signedcanvasboard Marquet (lower left) 13 x 16 1/8 inches. Jean-Claude Martinet and Guy Wildenstein have previously stated that this painting will be included in the forthcoming Marquet catalogue raisonné being prepared under the sponsorship of the Wildenstein Institute.

GalerieProvenance:Bernheim-Jeune, Paris Sold: Christie’s, London, February 8, 2005, Lot 283 (as Port de Cassis) Acquired at the above sale $50,000 - 70,000

26 AMERICAN & EUROPEAN ART 20 Jean Dufy (French, 1888–1964) Honfleur oil on signedcanvas Jean Dufy (lower right) 15 x 18 1/4 inches. Property of an Estate, Beverly Hills, California This lot will be included in the forthcoming third volume of the catalogue raisonné being prepared by Jacques VonnieProvenance:Bailly.Adams,March 7, 1974 William A. Findlay, Inc., Chicago (label verso) $30,000 - 50,000

27FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 21 Jean Dufy (French, 1888–1964) Nature Morte aux Vases de Fleurs oil on signedcanvas Jean Dufy (lower right) 11 x 14 inches. This lot is accompanied by photo-certificate no. 3276, issued by Jacques Bailly and dated Paris, le 6 janvier 1998. Sold:Provenance:Piasa, Paris, December 11, 2000, Lot 89 Sold: Christie’s, London, February 4, 2004, Lot 194 Acquired at the above sale JacquesLiterature:Bailly, Jean Dufy. Catalogue raisonné de l’oeuvre, Paris, 2010, vol. II, p. 341, no. B.1463, illus. $8,000 - 12,000

28 AMERICAN & EUROPEAN ART

Paris, 1965 Findlay Galleries, July 1965 Purchased from the above, October 1965 $100,000 - 150,000

22 Lê Phổ (French, 1907–2001) Femme Peignant oil on signedcanvas Le Pho and with Chinese characters (lower left); titled (stretcher); bears inventory number 9142 (backing board) 38 3/4 x 51 3/8 inches.

Property from the Estate of Michael L. Wilkie, Chicago, Illinois This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Le Pho, currently TheProvenance:underway.Artist’sstudio,

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30 AMERICAN & EUROPEAN ART 23 Lê Phổ

(French/Vietnamese, 1907–2001) La Lettre oil on signedcanvas Le Pho and with Chinese characters (lower right) 29 x 36 1/4 inches. This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Le Pho, currently underway.

TheProvenance:Artist’sstudio, Paris, 1983 Findlay Galleries, December 1983 Purchased from the above, May 1984 $50,000 - 70,000

31FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 24 Lê Phổ (French/Vietnamese, 1907–2001) Les Dahlias Jaunes, 1974 oil on signedcanvas Le Pho and with Chinese characters (lower left); titled and bears inventory number 58069 (verso) 28 3/4 x 21 1/4 inches.

Property from a Private Collection, Illinois This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Le Pho, currently underway.

TheProvenance:Artist’sstudio, Paris, 1974 Findlay Galleries, January 1975 Purchased from the above, October 1975 $20,000 - 30,000

Accompanied by a certificate issued by Wally Findlay Galleries, dated October 9, 1975.

32 AMERICAN & EUROPEAN ART 25 Nikolai Aleksandrovich Tarkhoff (Russian, 1871-1930) Le Chat Noir oil on card laid to board bears a Petit Palais inventory label on the stretcher 16 1/4 x 13 inches. Property from the Estate of a Renowned Art Dealer, New York City, New York Guy Abot, Director of the Nicolas Tarkhoff Committee, confirms the authenticity of this lot, which will be listed in the forthcoming Catalogue Raisonné of the painted work.

Sold:Provenance:Sotheby’s, London, March 29, 2000, Lot 85 Acquired at the above sale by the present owner $8,000 - 10,000

GalerieProvenance:Marcel-Lenoir, Paris Musée du Petit Palais, Geneva, inventory number $3,00013191 - 5,000 26 Bernard Cathelin (French, 1919-2004) Pagode à Nikko, 1970 oil on signedcanvasCathelin and dated (lower right); signed, dated, and titled (verso) 18 x 21 3/4 inches.

Sold:Provenance:Christie’s South Kensington, London, December 5, 2002, Lot 177 Acquired at the above sale by the present owner $8,000 - 12,000

33FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 27 Bernard Cathelin (French, 1919-2004) Les Deux Faisans, 1961 oil on signedcanvasCathelin and dated (lower left); signed, dated, and titled (verso) 25 3/4 x 36 1/2 inches.

Sold:Provenance:Sotheby’s, London, March 29, 2000, Lot 197 Acquired at the above sale by the present owner $4,000 - 6,000 28 Yvonne Canu (French, 1921-2007) Fête de Nuit à St. Tropez oil on signedcanvas Canu (lower right); signed, titled, and numbered 1223 (verso) 18 1/4 x 15 inches.

34 AMERICAN & EUROPEAN ART 29 Claude Venard (French, 1913-1999) Untitled oil on signedcanvas C. Vernard (lower right); inscribed (verso) 45 x 57 1/2 inches. GalerieProvenance:Felix Vercel, New York/Paris (label verso) $15,000 - 25,000

Sold:Provenance:Dyf.Sotheby’s Olympia, London, October 23, 2002, Lot 625 Acquired at the above sale $6,000 - 8,000

31 Marcel Dyf (French, 1899-1985) En Provence, 1945 oil on signedcanvas Dyf and dated (lower left) 15 x 18 inches. The authenticity of this lot has kindly been confirmed by Madame Claudine Dyf.

35FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT

Sold:Provenance:Sotheby’s Olympia, London, October 22, 2003, Lot 105 Acquired at the above sale by the present owner $2,000 - 4,000

30HINDMANAUCTIONS.COM Marcel Dyf (French, 1899-1985) Bateaux, c. 1930s oil on signedcanvas Dyf (lower right) 25 x 39 1/4 inches. The authenticity of this lot has kindly been confirmed by Madame Claudine

36 AMERICAN & EUROPEAN ART

33 Élisée Maclet (French, 1881–1962) La Rue de L’Abreuvoir, Montmartre oil on signedboardMaclet (lower right) 18 1/4 x 24 inches.

Sold:Provenance:Sotheby’s Olympia, London, October 19, 2006, Lot Acquired21 at the above sale $3,000 - 5,000

Sold:Provenance:Christie’s, New York, February 25, 2004, Lot 32 Acquired at the above sale Sold: Christie’s, New York, March 1, 2006, Lot 113 Acquired at the above sale $3,000 - 5,000

32 Élisée Maclet (French, 1881–1962) Moulin de la Galette oil on signedboardMaclet (center right) 25 1/2 x 19 3/4 inches.

37FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 34 Charles Camoin (French, 1879–1965) Nature Morte aux Poissons, c. 1923 oil on signedcanvas Ch. Camoin (lower right) 13 x 18 inches. The authenticity of this lot has previously been confirmed by Mrs. Grammont-Camoin. JeanProvenance:Bacqué, son of the artist and actor André Bacqué. Sold: Christie’s South Kensington, London, March 26, 1999, Lot 15 Acquired at the above sale $8,000 - 12,000

38 AMERICAN & EUROPEAN ART 35 Pierre Bonnard (French, 1867–1947) Paysage du Dauphiné, c. 1888 oil on signedcanvasBonnard (lower left); stamped with number 3 (verso) 8 3/4 x 10 3/4 inches. This lot will be included in the forthcoming second supplement to the Pierre Bonnard catalogue raisonné being prepared by Messrs Guy-Patrice and Michel Dauberville. It is accompanied by a photo-certificate from Messrs GuyPatrice and Michel Dauberville dated Paris, le 14 octobre 2005 Sold:Provenance:Christie’s South Kensington, London, November 28, 2007, Lot 52 Acquired at the above sale $40,000 - 60,000

39FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 36 Kees Van Dongen (Dutch/French, 1877–1968) Le Parc oil on signedpanel van Dongen (lower right) 12 1/4 x 16 1/4 inches. This lot will be included in the forthcoming van Dongen Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc. It is accompanied by a letter issued by Jacques Chalom des Cordes and dated Paris le 7 avril 2005 Sold:Provenance:Christie’s, New York, May 10, 2007, Lot 290 Acquired at the above sale $25,000 - 35,000

40 AMERICAN & EUROPEAN ART 37 Henri Hayden (French/Polish, 1883–1970) Vue de St. Tropez oil on signedcanvasHayden (lower left) 15 x 18 1/4 inches. Sold:Provenance:Christie’s South Kensington, London, June 18, 1999, Lot 76 Acquired at the above sale $5,000 - 7,000

41FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 38 Suzanne Valadon (French, 1865–1938) L’Église d’Irigny (Rhône), 1918 oil on signedcanvasSuzanne Valadon and dated (lower left); titled (verso) 24 x 19 3/4 inches. PrivateProvenance:Collection, acquired by 1960 Sold: Palais Galliéra, Paris, Maîtres Robert et Bellier, June 17, 1966 Sold: Sotheby’s Paris, December 13, 2007, Lot 92 Acquired at the above sale PaulLiterature:Pétridès, L’Œuvre complet de Suzanne Valadon, Paris, 1971, p. 299, illustrated p. 123 $20,000 - 30,000

42 AMERICAN & EUROPEAN ART 39 Roger Mühl (French, 1929–2008) Le Lac oil on signedcanvas Mühl (lower right); titled (verso) 47 x 43 inches. $3,000 - 5,000

43FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 40 Ángel Botello (Puerto Rican, 1913–1986) Mother and Child, c. 1950 tempera on etched and gold leafed masonite signed Botello (lower right) 12 x 10 inches. We would like to thank Juan Botello for his kind assistance with cataloging this lot and for providing the circa date for the painting. The artwork was executed in Haiti and bears a frame hand-carved by the artist. $6,000 - 8,000

Vue Panoramique de Haute-Ilse prise de la RocheGuyon (Seine et Oise), 1947 oil on canvas laid to board signed Jean Eve (lower right); dated and titled (board 24verso)1/4 x 32 1/2 inches.

Acquired at the above sale by the present owner $10,000 - 15,000 42 Jean Eve (French, 1900-1968)

Venise: Le Bassin San Marco, 1960 oil on signedcanvas a. Hambourg (lower left); signed, dated, and titled (stretcher) 18 1/4 x 21 3/4 inches.

ExpositionExhibited: I.L. Myers (label verso) $3,000 - 5,000

Sold:Provenance:Christie’s, New York, February 27 2005, Lot 16

44 AMERICAN & EUROPEAN ART 41 André Hambourg (French, 1909-1999)

45FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 43 Gustave Camille Gaston Cariot (French, 1872-1950) Paysage de Rhénanie aux Champs Fleuris, 1929 oil on signedcanvas G. Cariot and dated (lower right) 25 3/4 x 32 inches. PrivateProvenance:Collection, France Private Collection, acquired from the above Sold: Sotheby’s, London, May 20, 2018, Lot 171 Acquired at the above sale by the present owner $20,000 - 30,000

46 AMERICAN & EUROPEAN ART 44 Gustave Camille Gaston Cariot (French, 1872-1950) Les Bords de l’Yerres, Saules du Moulin de Périgny, 1915 oil on signedcanvas G. Cariot and dated (lower right) 13 1/2 x 40 3/4 inches. PrivateProvenance:Collection, France Sold: Sotheby’s, Paris, October 19, 2018, Lot 406 Acquired at the above sale by the present owner $15,000 - 25,000

47FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 45 Louis Marie De Schryver (French, 1862-1942) Les Premières Fleurs (The First Flowers) oil on signedcanvas DE Schryver (lower right) 40 1/2 x 62 3/4 inches. Paris,Exhibited:Palais des Champs-Elysées, Salon de la Société des Artistes Français, 1887, no. 2164 (illustrated p. 296 in the catalogue) $70,000 - 90,000

Literature: Renoir, Degas, Charles E. Slatkin Galleries, New York, 1958, (exhibition catalogue), illustration of the terracotta version, pl. LI Lot note: In 1918, Louis Morrell modeled three plaster reliefs under Pierre-Auguste Renoir’s direction. These reliefs were inspired by the artist’s paintings La Danseuse au Tambourin and La Danseuse aux Castagnettes, both executed in 1909 and now in the National Gallery, London. The New York sculptor Bruce Hoheb made four molds of the terracotta reliefs in March 1984 and these were used to make lost wax bronze casts at the Joel Meisner & Co. Foundry, located on Long Island. The bronzes were made and distributed at the behest of Parker & Parker, Ltd. in collaboration with the Renoir family. The edition size is 319, plus 12 hors de commerce and 2 epreuve d’artiste, with the present work number 66. All terracotta molds were destroyed.

48 AMERICAN & EUROPEAN ART 46 After Pierre-Auguste Renoir (French, 1841–1919) La Danseuse au Tambourin III, 1918 (cast 1984)

bronze relief signed Renoir (lower right) Height 29 3/8 inches.

$3,000 - 5,000

49FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

48 Gaston Bussière (French, 1862-1928) Nu dans la Neige, 1903 oil on signedcanvasGaston Bussière and dated (lower right) 29 1/4 x 29 1/4 inches.

Seated Nude in a Forest oil on signedcanvasEOthon Friesz (lower left) 21 3/4 x 13 inches. $4,000 - 6,000

GalerieProvenance:Michael, Beverly Hills, California Purchased from the above by the present owner $5,000 - 7,000

47 Achille-Émile Othon Friesz (French, 1879–1949)

50 Eugène Galien-Laloue (French, 1854-1941) Harbor Scene oil on signedcanvas E. Kermainguy (Galien-Laloue’s pseudonym) (lower left) 16 1/2 x 25 1/2 inches. We are grateful to Noé Willer for confirming the authenticity of this lot. A certificate can be issued by Noé Willer at the expense of the $4,000purchaser.-6,000

50 AMERICAN & EUROPEAN ART

49 Henri Fantin-Latour (French, 1836-1904) Andromède oil on signedcanvas Fantin (lower left); inscribed 5209 (verso) 17 1/2 x 12 1/2 inches.

F.&J.Provenance:Tempelaere, Paris Achille Raymond, Grenoble, by 1936 Sold: Christie’s, New York, June 2, 2005, Lot 131 Acquired at the above sale by the present owner MuséeExhibited:de Grenoble, Centennaire de Henri FantinLatour, 1936, no. 90 MadameLiterature:Fantin-Latour, Catalogue de l’oeuvre complet de Fantin-Latour, Paris, 1911, p. 225, no. 2133 $8,000 - 12,000

51FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

51 Théodore Rousseau (French, 1812-1867) Plage près du Mont-Saint-Michel oil on paper laid down on panel 5 1/4 x 9 3/4 inches.

AlfredProvenance:Sensier Collection G. Robert Collection, 1882 Babcock Collection, Boston John HazlittRobertsonGallery,London, 1959 Private Collection, purchased from the above, 1966 Sold: Sotheby’s, New York, May 4, 2012, Lot 92 Acquired at the above sale by the present owner

London,Exhibited:Hazlitt Gallery, Théodore Rousseau: Le Grand Refusé, 1961, p. 11, no. 13 MichelLiterature:Schulman and Marie Bataillès, Théodore Rousseau, 1812-1867, Catalogue Raisonné de L’oeuvre Peint, Paris, 1999, p. 129, no. 133, illus. $20,000 - 30,000

52 Maximilien Luce (French, 1858-1941) Après la Bataille, c. 1917-18 oil on signedcanvas Luce (lower left) 15 x 18 inches. We are thankful to Denise Bazetoux, MaisonsLaffitte, for her assistance with cataloguing the present Accordinglot.to Madame Bazetoux, the present artwork is likely a study for the artist’s Le Transport du Blessé, in the collection of the Musée municipal de Dourdan, France. $4,000 - 6,00053

Sold:Provenance:ParkeBernet, New York, January 23, 1952, Lot Edmund29 Courtenay Benson, New York, acquired at the above sale Thence by descent Sold: Sotheby’s, New York, January 30, 2015, Lot Acquired525 at the above sale by the present owner

52 AMERICAN & EUROPEAN ART

$5,000 - 7,000

Eugène Fromentin (French, 1820-1876) Le Campement Arabe oil on signedcanvas Eug. Fromentin (lower right) 19 3/4 x 24 1/2 inches.

The present lot is a variant of the artist’s Le Campement arabe now in the Musée d’Orsay, Paris (see: James Thompson and Barbara Wright, Eugène Fromentin, 1820-1876, Visions d’Algérie et d’Égypte, Paris, 2008, p. 374, illus.).

The present lot bears a very close resemblance to Fromentin’s La Chasse aux gazelles of 1864 (see: James Thompson and Barbara Wright, Eugène Fromentin, 1820-1876: visions d’Algérie et d’Egypte, Paris, 2008, p. 234, illus.), which suggests it can be dated to the same period. In addition to its style and technique, this date is further supported by Jérôme Ottoz’s stencil on the panel’s verso. Ottoz was Fromentin’s framer and paint merchant from 1863 until the artist’s death in 1876. Though it is not certain when Noël Bardac acquired this artwork, the wealthy Parisian banker was a celebrated patron of the arts. In 1893 Bardac purchased the newly constructed Château du Haut-Buc (near Versailles, and now a school), ceding it in 1918 to the Italian astronomer, Gentilli de Giuseppe. $15,000 - 20,000

53FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 54 Eugene Fromentin (French, 1820-1876) La Chasse à la Gazelle oil on signedpanel Eug. Fromentin (lower right) 10 5/8 x 16 inches. Barbara Wright has previously confirmed the authenticity of this lot and provided additional catalogue HerMoniqueNoëlProvenance:information.Bardac,by1910Uziellisale,Sotheby’s,New York, May 4, 2012, lot 29 Acquired at the above sale by the present owner Paris,Exhibited:Galerie Georges Petit, Vingt Peintres du XIXe siècle, Exposition au profit de la Croix Rouge Française, May 2 -31, 1910, p. 24, no. 97 (lent by Noël Bardac)

54 AMERICAN & EUROPEAN ART 55 Jean Baptiste Camille Corot (French, 1796-1875) Montmartre, Mur et Moulin oil on board laid down on panel signed Corot (lower right) 9 3/4 x 13 1/2 inches.

PierreLiterature:Dieterle, Martin Dieterle, and Claire Lebeau, Corot: cinquième supplemént à L’Oeuvre de Corot, Paris, 2002, pp. 30-31, no. 27, illus. The decade following 1834 was one of fervent production, from which Jean-Baptiste-Camille Corot developed his own style as a landscape artist. Traveling throughout France, Corot explored the geographical conditions of the diverse regions and studied the topographical and ecological lighting differences of the various areas. The large hill in Paris known as Montmartre, where Corot painted only three known works of art, was famous for its rich and artistic history as a home where many artists lived and worked. Additionally, the painting, Montmartre, Mur et Moulin, is unique as one of a few landscape works depicting the structure of the city from an elevated vantage point, similar to works painted between 1840-1845 in the French city of Lormes. The windmill depicted in the center right of the painting is distinct in his representation of Montmartre, with windmills found in the two other landscapes Corot painted of Montmartre. $30,000 - 50,000

GalerieProvenance:Marc Stammegna, Marseille Private Collection, purchased from the above, 2001 Sold: Sotheby’s, New York, May 9, 2014, Lot 71 Acquired at the above sale Sold: Sotheby’s, New York, November 1, 2017, Lot 45 Acquired at the above sale by the present owner

Paul Camille Guigou (French, 1834-1871)

55FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

57 Paul Léon Frequenez (French, 1876–1943)

In the Park oil on signedpanel L. Frequenez (lower left); indistinctly inscribed (lower right); stamped with the artist’s atelier sale stamp (verso) 7 1/4 x 10 1/2 inches. Sold,TheProvenance:Artist’sstudiohisposthumous sale, Angoulême, France, 1993 Mark Murray Fine Paintings, New York Purchased in 2005 from the above Sold: Sotheby’s, New York, October 22, 2019, Lot 131 Acquired at the above sale by the present owner $2,000 - 4,000

Field of Olive Trees in Provence oil on signedcanvas Paul Guigou (lower left); bears a red wax seal (verso) 17 x 32 inches. This lot has previously been authenticated by Monsieur Franck Baille. Sold:Provenance:Sotheby’s, Paris, October, 29, 2018, Lot 941 Acquired at the above sale by the present owner Lot note: The small mountain in the background is likely located near Apt, France. $10,000 - 15,000

56

She was so taken with Florence that she decided to live there, and remained in Florence until her death in 1908, although she did visit London again several times. Whether she took with her to Florence the portrait by Tissot is unknown. Her lifestyle in Florence was extravagant and she ended up a pauper, her income from writing all going on paying off debts. She was buried in Italy and a memorial to her was constructed in her English birthplace, Bury St Edmunds.

Soon after her 1871 meeting(s) with Tissot, Ouida set out on a continental tour of Belgium, Germany and Italy.

56 AMERICAN & EUROPEAN ART 58 James Joseph Jacques Tissot (French, 1826-1902) Portrait of the writer Ouida, c. 1870 oil on signedpanel J.J. Tissot (lower right) 12 x 16 inches. We are grateful to Krystyna Matyjaszkiewicz for her confirmation of the sitter’s identity and preparing this catalogue entry.

There are two known photographs of Ouida: one taken around 1872 by Adolphe Paul Auguste Beau and engraved by August Weger, showing her in profile with loose flowing hair (on which was based a drawing of 1878 by Alice Danyell, reproduced as a lithograph); and a later, full-face portrait of about 1880 by Elliot & Fry, in which she rests her head thoughtfully on one hand and has hair dressed with a centre parting, which was reproduced on a cigarette card in the 1890s. (A photograph of a young woman in low-cut evening gown, with elegantly dressed hair, which has been used as an illustration of Ouida, is in fact the portrait of an American actress that was wrongly catalogued.) The nose, eyebrows and dark eyes in Tissot’s painting are very similar to those in the two definite photographs of Ouida. Tissot’s painting appears to be the earliest surviving image of the writer. Ouida corresponded with Tissot, inviting him when he visited London in mid-June 1871 to come to her Langham Hotel apartment where ‘some English artists will enjoy the great pleasure of meeting you & seeing your sketches’ (presumably those he brought with him of the Paris siege and Commune). She wrote to him in English, even though she was fluent in French: perhaps Tissot had said he wanted to practice his English. They may have first met some years before 1870, when Ouida visited France with her parents. It has been speculated that Tissot’s 1860 etching, Louise, may represent Ouida, as there is a resemblance, but the poetry couplet he added below the image refers to ‘large blue eyes softer than a cornflower’ and the poet Louise Colet, more likely the subject, was renowned for her blue eyes.

Although documentation identifying this portrait’s sitter is lost, the setting depicted and the sitter’s facial features show it to be Ouida, the Victorian writer, who was a friend of the artist. She enjoyed great international fame and popularity from the 1860s to early 1900s, and has recently been reclaimed by feminists and reappraised as a significant 19th century author.

Ouida was the pen-name of Marie Louise Ramé (1839-1908), a name she altered to Marie Louise de la Ramée, although she wanted to be known only as Ouida. The author of twenty-four best-selling novels, fourteen volumes of short stories, five novellas, two volumes of essays, and countless articles on the arts, politics and animal rights, Ouida was most famous for her 1860s ‘sensation’ novels about dashing military heroes and for later novels focused on society behaviour. She was an eccentric character and from late 1866 to summer 1871 lived in an apartment at the Langham Hotel in London. There she would receive business guests during the day in her bedroom, where heavy curtains were drawn against the windows to keep out daylight, and lighting was provided by oil lamps and candles. The novelist would receive guests while sitting in her enormous bed, busily writing. It is this habitual daytime appearance, propped against enormous pillows and illuminated by lamplight, which the anglophile French artist, James Tissot, captures in this portrait of Ouida. The painting is likely the one she refers to in a letter of June 1870 to her continental publisher, Freiherr von Tauchnitz: ‘I am about to have a portrait painted by a celebrated artist,’ she wrote, ‘and this picture will then be engraved’ (Bigland, 1951). The outbreak of the Franco-Prussian War in July 1870, ending in the Siege of Paris and Commune in spring 1871, would have prevented translation of the painting into print by Tissot himself. He was certainly a celebrated artist and visited London in 1870, sometime before mid-July, painting there his famous portrait of the elegant Captain Frederick Gustavus Burnaby (National Portrait Gallery, London), dated 1870. Like the portrait of Ouida, Burnaby is painted on a small, commercially-prepared panel, Tissot’s preferred support for oil paintings made in London during 1870-72. Such panels provided a smooth, even surface to paint on and were easier, and safer, to transport when travelling than canvases. Tissot, born in north-west France and christened Jacques Joseph, had been called James since childhood and used the name professionally when he became an artist. He was a great lover of England and all things English. From 1859 he had exhibited paintings at the Paris Salon and from 1862 had also exhibited work in England. Tissot was highly regarded as a portraitist and had also been commissioned in 1869 by Thomas Gibson Bowles, editor of the English satirical weekly magazine, Vanity Fair, to draw caricatures of leading European political figures. The portrait of Burnaby was owned by Bowles and probably a gift from Tissot, as the artist did not record its sale. Ouida’s portrait may also have been a gift to her, as its sale is similarly not recorded by Tissot in the notebook of sales he kept from 1857-90. Tissot was very innovative in his portrait compositions, preferring to capture his sitters posed informally, and including settings that give context to the people portrayed, as well as evocative details. On mahogany panels prepared with a painted surface by George Rowney & Co., Tissot brushed overall a warm-coloured brownish glaze to give even background tone, as can be seen at the edges of this painting and in areas behind the pillows. Figure and setting were then painted in deft, rapid strokes of colour. He excelled at painting textiles, ceramics, silverware and jewellery, as seen in this portrait. Christened Marie Louise, Ouida had preferred to use her second name, and ‘Ouida’ was her lisped childhood version of Louise, adopted by her as a pen-name. It had the advantage, when starting out as a woman writer, of being non-specific as to gender. Her father, Louis Ramé, was a Frenchman, an exiled Bonapartist who taught French for a living in Bury St Edmunds, Suffolk, but also undertook secret missions and disappeared in 1871 around the time of upheaval in Paris. Ouida’s mother, Susan Sutton, was an Englishwoman, though the author identified herself more with French people than English. She published her first story in 1859 and her novels of the 1860s brought Ouida fame and very good income, which she spent lavishly. Of her escapist novels, an obituary writer would say ‘critics read them with a shrug; the novelist with a sigh; the school girl with bated breath and shining eyes; and bank clerks and lady helps with numerous thrills of envious rapture.’ In Tissot’s portrait there is a thick softback book (perhaps a publisher’s proof), which Ouida has been reading and put down while the artist paints her portrait. There is a bottle of smelling salts on the bedside table, ready to hand, and a small medicine bottle near a silver sugar caddy, with porcelain teacup and saucer beside the brass lamp that illuminates the famous author.

Sold:Provenance:Christie’s, London, June 3, 1994, Lot 158 (as Femme allongée) Sold: Christie’s, London, April 19, 2005 Sold: Sotheby’s, New York, 2011, Lot 25, as A Reclining Lady Eileen Bigland, Ouida, the Passionate Victorian, New York, 1951, pp. 64-65, perhaps the portrait referred to p.65 $15,000 - 20,000

57FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

58 AMERICAN & EUROPEAN ART 59 Peder Mørk Mønsted (Danish, 1859-1941) Capri, 1883 oil on signedcanvasPMønsted, dated, and inscribed Capri (lower right) 19 x 14 ThomasProvenance:inches.Agnew& Sons, Liverpool, United Kingdom (label verso) $3,000 - 5,000 60 Peder Mørk Mønsted (Danish, 1859-1941) Mountain Lake with Sailboats, 1896 oil on signedcanvaswithinitials PM and inscribed (lower left); signed and inscribed (stretcher) 21 1/4 x 34 1/2 inches. $4,000 - 6,000

59FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 61 Peder Mørk Mønsted (Danish, 1859-1941) Pond in Herstedvester, Denmark, 1923 oil on signedcanvasPMønsted, dated, and inscribed Herstedvester (lower left) 23 1/2 x 34 1/4 inches. Sold:Provenance:Bruun Rasmussen Vejle, November 21, 1997, Lot Sold:1218Bruun Rasmussen, May 28, 1998, Lot 461 $4,000 - 6,000 62 Peder Mørk Mønsted (Danish, 1859-1941) River in Forest Landscape, 1908 oil on canvas laid to board signed PMønsted and dated (lower right) 17 x 13 inches. $3,000 - 5,000

63 Jean-Baptiste Robie (Belgian, 1821-1910) Still Life with Roses and Peonies oil on signedpanel J Robie (lower left) 6 x 6 3/4 inches. The present lot by the artist Jean Robie is quite possibly a sketch for a larger painting. Robie’s larger, more finished compositions are typically meticulously finished, which supports that this painting is a study, with its more roughly executed brushstrokes. The bouquet of flowers on the ground is typical of the artist’s placement, with the stems to the left, the open flowers bright with shimmering oranges, yellows, reds and pinks in the center, and the flower buds in the dark background. The shadow and light, as well as the intensity of color, are likewise characteristic of works by the artist. Additionally, the beveled mahogany panel and white ground, visible around the edges, were both regularly used by the artist. We would like to thank Kathleen de Fays, Archivist, Foundation Jean Robie, for her invaluable cataloguing assistance.

$3,000 - 5,000

60 AMERICAN & EUROPEAN ART

64 Paul Jean Clays (Belgian, 1819-1900) Effet de Brume ; Côte de Hollande, 1873 oil on signedcanvas P.J. Clays (lower right); signed, dated, titled, and inscribed Bruxelles (verso); red wax seal (stretcher) 29 3/4 x 43 5/8 inches.

Mr.Provenance:andMrs. Paul Frederick, Elm Grove, Wisconsin Sold: Leslie Hindman Auctioneers, Chicago, May 2, 2012, Lot 381 Acquired at the above sale by the present owners $3,000 - 5,000

61FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 65 Rudolf Ernst (Austrian, 1854-1932) Guard in Orientalist Interior, 1886 oil on signedpanel R. Ernst and dated (lower right) 16 1/2 x 12 3/4 inches. Property from the Estate of Virginia H. Rogers, Chicago, Illinois $10,000 - 15,000

62 AMERICAN & EUROPEAN ART 66 Albin Egger-Lienz (Austrian, 1868-1926) Die Heilige Familie, 1892 oil on signedcanvas A. Egger and dated (lower left); signed and inscribed (verso) 25 x 30 1/2 inches.

TheProvenance:Artist,sold by 1894 John Richards Maddox (1922-1999), Hartford City, ByIndianadescent to James Maddox (1924-2016), brother of the above, New Castle, Indiana By descent to Jane Maddox (1926-2021), wife of the Acquiredabovefrom the above by the present owners Munich,Exhibited:Glaspalast, June 1, 1892, no. 493

CurtLiterature:H.Weigelt, Albin Egger-Lienz, Berlin, 1914, p. 53 Giorgio Nicodemi, Albino Egger-Lienz, Brescia, 1925, p. 32 Josef Soyka, A. Egger Lienz. Leben und Werk, Vienna, 1925, p. Heinrich61 Hammer, Albin Egger-Lienz, Innsbruck/Vienna/ Munich, 1930, p. 260, no. 35 Wilfried Kirschl, Albin Egger Lienz, 1868-1926 : das Gesamtwerk, Vienna, 1996, vol. 2, p. 508, no. M70, illus. $25,000 - 35,000

67 Cesare Auguste Detti (Italian, 1847-1914)

The Concert, 1872 oil on signedpanel Detti, dated, and inscribed Roma (lower left) 15 1/2 x 20 1/4 inches. $7,000 - 9,000

68 Cesare Auguste Detti (Italian, 1847-1914)

The Rose, 1892 oil on signedcanvas C. Detti, dated, and inscribed Paris (lower left) 25 1/2 x 18 1/2 inches.

63FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

J.J.Provenance:Gillespie Fine Art Galleries, Pittsburgh, Pennsylvania (label verso) $5,000 - 7,000

64 AMERICAN & EUROPEAN ART 69 Montague Dawson (British, 1890–1973) In the Trough of the Waves, the Clipper Oberon oil on signedcanvasMontague Dawson (lower left) 28 x 42 inches. Property from the Collection of James and Patrice Schoonmaker, Naples, Florida FrostProvenance:&Reed, Ltd., London Purchased from the above by the present owner, November 14, 1977 $50,000 - 70,000

70 Montague Dawson (British, 1890–1973) Study for The Flying Fish and The Flying Cloud oil on signedcanvasMontague Dawson (lower left) 20 x 30 inches. Property from the Collection of James and Patrice Schoonmaker, Naples, Florida $30,000 - 50,000

71 Montague Dawson (British, 1890-1973) Flicker in Gold – The Forest Queen oil on signedcanvasMontague Dawson (lower left); titled and inscribed (stretcher) 24 1/8 x 36 1/4 inches.

Stair-MurdockProvenance: Fine Arts, Ltd., New York Continental Galleries of Fine Art, Montreal (label $20,000verso)-30,000

65FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

VallejoProvenance:inches.Gallery,Newport Beach, California 73$20,000verso)-30,000

66 AMERICAN & EUROPEAN ART 72 Montague Dawson (British, 1890-1973) Victory Ship Attacked by German U-Boat oil on signedcanvasMontague Dawson (lower left) 20 x 30

Naval Battle oil on canvas laid to board signed Montague Dawson (lower left) 19 1/4 x 23 inches. - 30,000

Montague Dawson (British, 1890-1973)

(label

$20,000

Sold:Provenance:Sotheby’s, London, May 11, 1994, Lot Acquired128 at the above sale by the present $8,000owner - 12,000

TheProvenance:Tryon& Swann Gallery, London (label $6,000verso) - 8,000

74 Montague Dawson (British, 1890–1973) A Fair Head watercolor, gouache, and graphite on paper signed Montague Dawson (lower left) 10 3/4 x 18 inches.

75 Montague Dawson (British, 1890-1973) Taking in the Jib watercolor and gouache on paper signed Montague Dawson (lower left) 16 1/2 x 26 inches.

67FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

68 AMERICAN & EUROPEAN ART

JamesLiterature:Reid, Edward Seago: The Landscape Art, London, 1991, pl. 52 $20,000 - 30,000

77 Edward Seago (British, 1910–1974) Piazza Navona, Rome oil on signedboardEdward Seago (lower left); inscribed Piazza Navona, Rome (verso) 20 x 30

76 Edward Seago (British, 1910–1974) Place St. Michel, Paris oil on signedcanvasEdward Seago (lower left); titled and numbered NC 589 (stretcher) 26 x 36

LaingProvenance:inches.Galleries,

Toronto Sold: Christie’s King Street, London, November 23, 1993, Lot 62 Acquired at the above sale

ColnaghiProvenance:inches.andCo. Ltd., London Sold: Christie’s King Street, London, November 22, 2008, Lot 308 Acquired at the above sale $25,000 - 35,000

W.TheProvenance:ArtistRussellButton, Chicago, gifted by the Artist Sold: Leslie Hindman Auctioneers, Chicago, December 10, 2008, Lot 160 Acquired at the above sale by the present owner $4,000 - 6,000

Sold:Provenance:Sotheby’s, London, November 12, 1998, Lot 17

79 Richard Doyle (British, 1824-1883)

69FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

The Fairy’s Dance, 1875 watercolor and graphite on paper signed with monogram RD and dated (lower left) 10 1/2 x 17 1/2 inches.

78 William Russell Flint (Scottish, 1880-1969) Model for a Mermaid, 1948 watercolor on paper signed W. Russell Flint (lower left); titled and inscribed from W Russell Flint to W. Russell Button, with a further illegible inscription, and dated March 1948 (verso) 5 5/8 x 3 3/8 inches.

According to the 1998 Sotheby’s sale catalogue, the present lot originally bore a letter pasted to the verso from Mrs. Burges, wife of the architect William Burges, to whom the watercolor had originally belonged. $4,000 - 6,000

Chicago,Exhibited:The Newberry Library, Sir Arthur Conan Doyle: Beyond Sherlock Holmes, April 9 - July 12, 2003

The title of this watercolor is a traditional identification and must refer to another Royal arrival into London. HMS Galatea was Alfred, Duke of Edinburgh’s usual ship. However, on the return from their marriage in St. Petersburg, the Duke and Duchess arrived into Windsor by train having docked at RichardGravesend.Doyle was fascinated by processions and the present lot is an example of this interest in the interrelation of figures in a crowd scene, something he translated into his many fairy pictures, for which he is best known. Doyle came from a remarkable artistic family. His brothers Charles and James were both artists and his nephew was Sir Arthur Conan Doyle (1859-1930), creator of the famous London sleuth, Sherlock Holmes. $3,000 - 5,000

Fairies’ Picnic, 1882 watercolor, pen, and ink on paper signed with monogram CADoyle and dated (lower right) 9 1/4 x 15 5/8 inches.

Sold:Provenance:Sotheby’s, London, November 12, 1998, Lot 14 (as by Richard Doyle) $1,500 - 2,500 81 Richard Doyle (British, 1824-1883) ‘Fish out of water’: Sailors from H.M.S. The Galatea Keeping the Ground on the Occasion of the Entry into London, after the Marriage of the Duke and Duchess of Edinburgh watercolor and graphite on paper signed with monogram RD (lower right) 13 3/4 x 19 3/4 inches. (possibly)Exhibited: Dublin, National Gallery of Ireland, 1984, Richard Doyle and his family Chicago, The Newberry Library, Sir Arthur Conan Doyle: Beyond Sherlock Holmes, April 9 - July 12, Sold:Provenance:2003Christie’s London. November 26, 1999, Lot 92

70 AMERICAN & EUROPEAN ART 80 Charles Altamont Doyle (British, 1832-1893)

Chicago,Exhibited:The Newberry Library, Sir Arthur Conan Doyle: Beyond Sherlock Holmes, April 9 - July 12, 2003

71FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 82 Richard Doyle (British, 1824-1883) Tam O’Shanter: The Chase of the Chalice watercolor and graphite on paper 8 1/2 x 17 3/16 inches. Sold:Provenance:Sotheby’s Belgravia, London June 20, Sold:Private1972CollectionWhyte’s,Dublin, February 25, 2008, Lot $1,500113 - 2,500 83 Richard Doyle (British, 1824-1883) Court Scene graphite, chalk, and ink wash on paper signed R. Doyle (lower right) 9 1/2 x 13 7/8 inches. $1,000 - 2,000

72 AMERICAN & EUROPEAN ART 84 Cecil Beaton (British, 1904-1980) White Peonies in a Pewter Pot oil on signedcanvasBeaton (lower right) 20 x 30 PalmProvenance:inches.BeachGalleries, Palm Beach, Florida (label verso) Sold: Christie’s South Kensington, London, September 30, 1999, Lot 110 $3,000 - 5,000 85 Alfred de Breanski Sr. (British, 1852–1928) Invergarry oil on signedcanvas Alfred de Breanski (lower right); signed and titled (verso) 30 1/4 x 20 1/4 inches. Property from a Private Collection, Chicago, Illinois $4,000 - 6,000

87 Salvador Dalí (Spanish, 1904-1989) Rhinoceros silvered inscribedbronzeSalvador Dali, numbered 60/100, and stamped SCAE. (base) Height: 4 3/4 inches. Property from a Private Collection, Southwest Florida

73FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

Earth Mother, 1971 bronze with brown patina inscribed Dali and numbered 5/100 (lower right edge) Height 12 1/2 inches.

86 Salvador Dalí (Spanish, 1904-1989)

Bruce Hochman ® ™ OS has kindly confirmed the authenticity of this lot. $3,000 - 5,000

Bruce Hochman® ™ OS has kindly confirmed the authenticity of this lot. $4,000 - 6,000

75FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM OPPOSITE Lot 92 AMERICAN ART LOTS 88-118

76 AMERICAN & EUROPEAN ART 88 William Samuel Schwartz (American/Russian, 1896-1977) A Country Firehouse, 1940 oil on signedcanvasWilliam S. Schwartz (lower right); signed, titled, and numbered 437 (verso) 30 x 36

JudgeTheProvenance:inches.ArtistSamuelHeller, Chicago, acquired from the Artist, Thence1940bydescent to his widow Her estate sale, RSVP Auctions, 1981 Acquired at the above sale by the present owner Lot note: The present lot is recorded in the artist’s log of paintings as being executed in 1940 and sold to Judge Samuel Heller, Chicago. $10,000 - 15,000

77FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

89 William Samuel Schwartz (American/Russian, 1896-1977) Gathering Clouds oil on signedcanvasWilliam S. Schwartz (lower left); signed, titled, and inscribed #487 (stretcher); titled (upper right canvas edge) 30 x 36 inches.

$5,000 - 7,000

90 William Samuel Schwartz (American/Russian, 1896-1977) The Baggage Man, 1929 oil on signedcanvasWilliam S. Schwartz, dated, titled, and inscribed Chicago and #202 (verso) 30 x 24 inches.

$3,000 - 5,000

78 AMERICAN & EUROPEAN ART 92 Dale Nichols (American, 1904-1995) Autumn Furrows, 1938 oil on signedcanvas Dale Nichols and dated (lower left) 30 x 34 DaleLiterature:inches.Nichols,

Dale Nichols, Brief Account of His Career (reproduced in a black & white photo with the artist) Cole Sartore, Worthy Rivals: Dale Nichols & Terence Duren, David City, Nebraska, 2018, p. 24, pl. 17, illus.

$60,000 - 80,000

During his stay in Alaska, the artist experienced a new quality of light unlike anything he had encountered in the Midwest, with its flat land and rolling hills. The northern lights and the sun against the Alaskan mountains, coastline, and land presented an entirely new perspective on how to use highlights and cast shadows to articulate form. Nichols was so taken by the alien landscape that he continued to visit for many summers after. However, it is from this first trip that mountains became an almost constant element in the artist’s paintings, whether he was depicting the rolling hills of the Midwest, the Southwestern desert, or the jungles of Guatemala.

Autumn Furrows, 1938, blends together Dale Nichols’ highly stylized, Midwestern subject matter within the imposing setting of an Alaskan mountain range. This unlikely juxtaposition came about from a journey the artist took in 1937. In the summer of that year, Nichols traveled from Chicago to the Alaskan wilderness, settling in a small cabin just outside Seward. He was inspired to make the journey by Rockwell Kent, an artist Nichols had long admired. Kent stayed in Alaska the winter of 1918-19 and later wrote about his time painting and drawing there in the book Wilderness. Originally a graphic artist and illustrator, Nichols was still searching for his own artistic voice in the late 1930s. His nascent theories on the use of color and composition to evoke emotion in the viewer came directly from his graphic art experience. The artist hoped that the solitary realities of the harsh region would help him further solidify his personal vision.

In the present work, the mountain range and sky dominate the composition and tower over the farmer and his horse-drawn plow. An otherworldly glow seems to emanate from the tallest peak, while its steep slopes are cast in dark shadows. The furrowed rows are described in graceful, soft curves that arch toward the horizon and the laboring figure. Nichol’s associated early on his career femininity with the landscape and his mountains integrate directly into these psychological and artistic principles. Dwarfed by the tremendousness of the mountain range and the rich loam of the soil, the farmer presents a visual allegory for Nichols’ perceived truths of living in harmony with the environment.

79FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

80 AMERICAN & EUROPEAN ART 93 John Graham (American, 1886–1961) Still Life, c. 1923-31 oil on canvas 18 x 24 1/4 inches. EstateTheProvenance:Artistofthe Artist Andre Emmerich Gallery, New York Private Collection Mark Borghi Fine Art, New York Purchased from the above by the present owner, 2008 $6,000 - 8,000

94 Florence Henri (American, 1893-1982) Untitled, 1923 oil on signedboard F. Henri and dated (lower left) 10 1/2 x 15 1/4 inches.

95 Ronald Joseph (American, 1910-1992) Untitled (The Conversation), c. 1944 oil on signedcanvasJoseph (lower right) 24 x 18 inches. $6,000 - 8,000

81FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

Though more often remembered today for her avant-garde photography, Florence Henri began her artistic career as a painter. In the early 1920s, she studied at the Bauhaus in Weimar under Paul Klee and Wassily Kandinsky, and then at the Académie Moderne in Paris under Fernand Léger. Her early compositions revel in the material double entendres of Cubism. In the present lot, for example, the body of the abstracted mandolin is not painted in trompe l’oeil Rather, Henri has revealed the painting’s wood panel and allows it to be both literally wood and the representation of wood. Conversely, she has painted one of her initials, a letter F, as though it were printed on a piece of paper and collaged to the paint surface.

$7,000 - 9,000

82 AMERICAN & EUROPEAN ART 96 Ivan Meštrović (American, 1883–1962) Goethe, c. 1930-32 bronze with brown patina Height 25 1/2 inches.

MilanLiterature: Ćurcčin, Goethe MDCCCXXXII-MCMXXXII : (Wann Und Wie Der Junge Goethe Den “Klaggesang Von Der Edlen Frauen Des Asan Aga” Ins Deutsche übertrug Und Wie Der Urtext Des Liedes Im Volke Wiedergefunden Ward), Zagreb, 1932, illus.

The present sculpture was featured in the double issue of Nova Evropa, published on March 22, 1932, which was dedicated to Goethe’s centenary. Published in Zagreb, Croatia from 1920 until 1941, the magazine was focused on liberal, open, and progressive journalism. Nova Evropa argued for a concept of ‘Open Yugoslavness’ which was closely related to the idea of social justice, equality, tolerance and ethics. This ideology of open Yugoslavness was also advanced through the visual arts and the works of Ivan Meštrović, one of the founders of the magazine (Milan Grba, The Zagreb magazine ‘Nova Evropa’, $8,000bl.uk/european/2018/06/the-zagreb-magazine-nova-evropa.html).https://blogs.-12,000

GiftTheProvenance:Artistfromthe Artist to the present owners

GiftTheProvenance:Artistfromthe Artist to the present owners

The subject of the present sculpture is Jovan Jovanović Zmaj, a Serbian poet.

Jovan Jovanović Zmaj patinated plaster Height 32 1/2 inches.

83FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 97 Ivan Meštrović (American, 1883–1962)

Born in 1833-1904, he worked as a physician but his passion was poetry. He wrote in many poetry genres, including love, lyric, patriotic, and political, but he remains best known for his children’s poetry. Meštrović presents Jovanović’s passion for children and children’s poetry in this statue that shows the poet reading to a child. $6,000 - 8,000

The present lot, which depicts Petar II Petrović Njegoš (1813-1851) with an eagle on his shoulder, is a study for Ivan Meštrović’s 28-tonne granite statue of the Montegrin leader. The finished sculpture resides in a mausoleum designed by the artist and constructed in 1971. Located atop Mount Lovćen, it is the highest mausoleum in the world at 5,738 feet.

Heightplaster 16

84 AMERICAN & EUROPEAN ART 98 Ivan Meštrović (American, 1883–1962) Study for “Petar II Petrović Njegoš”

Petar II Petrović-Njegoš, commonly referred to simply as Njegoš, was a Prince-Bishop of Montenegro, as well as a poet and philosopher whose works are widely considered some of the most important in Montenegrin and Serbian literature. Following his death in 1851, Njegoš’ remains were transferred to Mount Lovćen, where he had requested to be buried prior to his death. At the end of the Second World War, Yugoslavia came under Communist rule and in 1952 communist authorities decided to replace Njegoš’s Byzantine chapel with a secular mausoleum designed by Meštrović, which includes the final bronze version of the present sculpture. $4,000 - 6,000

GiftTheProvenance:inches.ArtistfromtheArtist

to the present owners

JanisLiterature:Conner, Leah Rosenblatt Lehmbeck, Thayer Tolles, and Frank L. Hohmann III, Captured Motion, The Sculpture of Harriet Whitney Frishmuth, A Catalogue of Works, New York, 2006, pp. 150-51; 240, no. 1921:1 (another cast illustrated) $5,000 - 7,000

85FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 99 Harriet Whitney Frishmuth (American, 1880–1980) The Vine bronze with brown patina inscribed © 1921 Harriet W. Frishmuth and stamped GORHAM CO. FOUNDERS QBWS (along the base) Height 11 3/4 inches. Property from the Collection of James and Patrice Schoonmaker, Naples, Florida

Col.Provenance:JamesMartinus Schoonmaker, Sr. (18421927), Pittsburgh, Pennsylvania Thence by descent to the present owner

ListedLiterature:asno. 35 in Tait’s register: ‘Duck Shootings. 50 x 38. Mott & Walters ($200.00)’ Warder H. Cadbury, Henry F. Marsh, Arthur Fitzwilliam Tait: Artist in the Adirondacks, Newark, New Jersey, 1986, p. 138, no. 57.17 F. Turner Reuter, Jr., Animal & Sporting Artists in America, Middleburg, Virginia, 2008, p. 516, illus.

In the present composition, the gentleman on the right is thought to be James Blackwell Blossom, a good friend of the artist’s and a frequent companion on his hunting trips. Blossom and his brother, Josiah, who may be the second figure, were the owners of a prosperous naval store business in New York. Tait depicted James again in a later painting, Going Out: Deer Hunting in the Adirondacks, 1862 (The Adirondacks Experience, Blue Mountain Lake, New York). The artist had previously painted the present scene in 1853 at a smaller scale and titled Wild Duck Shooting: A Good Day’s Sport, which was later published as a hand-colored lithograph by N. Currier. The earlier painting depicts the Clark brothers, who were prominent Tammany politicians. Tait frequently made copies of his own work and may have painted the 1857 composition because of the scene’s popularity. The work was originally owned by Harry T. Peters, author of the definitive book on Currier & Ives prints and it was one of several paintings by Tait in the author’s collection. Tait’s passion for sport and wildlife allowed him to imbue his works with telling and accurate details that continue to appeal today to the American public.

86 AMERICAN & EUROPEAN ART 100 Arthur Fitzwilliam Tait (American, 1819–1905) Duck Shooting, 1857 oil on canvas 38 x 50 inches. Property from the Estate of a Lady, Nevada

One of the foremost animal and sporting scene painters of nineteenth-century America, Arthur Fitzwilliam Tait was born in Liverpool, England and trained in Manchester as a lithographer and illustrator of popular magazines. In 1850, he immigrated to New York with his young family. At this time, sporting pursuits had become commonplace for American outdoorsmen, as the popularization of hunting and fishing was advanced through publications and the extension of railroad lines. An avid sportsman himself, Tait capitalized on this growing cultural phenomenon to engage the public’s enthusiasm for outdoor recreation. These factors helped him “to secure with remarkable speed his reputation as a professional painter.” (The Adirondack Museum, A.F. Tait: Artist in the Adirondacks, exhibition catalogue, Blue Mountain Lake, New York, 1974, p. 9).

Duck Shooting, 1857, is one of Tait’s largest and most ambitious paintings. The subject matter was probably influenced by the New Jersey wetlands, which Tait began visiting at the prompting of his friend and fellow artist, William Ranney. Ranney was an influential mentor to the artist during the 1850s and accompanied Tait on hunting trips. “At the same time, Ranney and Tait conveyed in their paintings little of the grandeur of nature in the sublime sense such as it is found in the landscapes of Thomas Cole and other artists touch by romanticism. And both applied the genre formula of stressing the incidental” (W.H. Cadbury and H.F. Marsh, Arthur Fitzwilliam Tait: Artist in the Adirondacks, Newark, Delaware, 1986, p. 29). It is this emphasis on detail and interest in the narrative, rather than solely on the surrounding landscape, that distinguished Tait’s work and accounts for his enduring popularity.

MottTheProvenance:Artist&Walters, acquired from the Artist Harry T. Peters, Orange, Virginia Sold: Christie’s, New York, June 4, 1982, Lot 99 The Congoleum Corporate Collection, Portsmouth, New Sold:HampshireChristie’s, New York, January 27, 1987, Lot 31 Shearson Lehman Brothers, New York, 1987-93 Richard York Gallery, New York (dated 1851) Purchased from the above by the present owner, 1993 NewExhibited:York, Berry-Hill Galleries, American Paintings VI, 1990, pp. 52-53, illus.

$300,000 - 500,000

87FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

88 AMERICAN & EUROPEAN ART

89FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

We wish to thank Martha Hoppin for her assistance with researching this lot. (possibly)TheProvenance:ArtistWilliam Drennan, Kansas City, Missouri, acquired from the Artist Mary Townsend Kimpton and Lawrence Kimpton, ThenceChicagoby descent to the present owner

You’re a Nice Pup, 1886 oil on signedcanvas J.G. Brown, N.A. and dated (lower right) 44 x 32 inches. Property from a Private Collection, Chicago, Illinois

TheProvenance:Estateof Roy J. Solfisburg, Jr., Chief Justice of the Illinois Supreme Court Thence by descent to the present owner $2,000 - 4,000

101 John George Brown (American, 1831-1913)

NewExhibited:York, American Art Galleries, American Paintings and Sculpture Contributed to the “Second Prize Fund Exhibition,” 1886, p. 13, no. 37, illus. St. Louis, Missouri, St. Louis Exposition and Music Hall Association, Third Annual Exhibition, 1886, p. 18, no. 42, illus.

“TheLiterature:Prize Fund Exhibition,” New York Times, 8 May 1886, p. 4 $30,000 - 50,000 102 Adam Emory Albright (American, 1862-1957)

Clam Diggers, 1919 oil on signedcanvas Adam Emory Albright and dated (lower left) 18 x 28 inches. Property from the Collection of Noel Davis

It is not known how many times the American artist Frederick A. Bridgman passed through the Pyrénées mountain range on his way to North Africa, but he may have had at least two extended painting sessions there during the summer-autumn of 1872 and 1873. Despite his previous residence in Brittany, where he recorded the traditional lifestyle of Pont-Aven, the artist was still enamored by the charming architecture, costumes and customs of European peasantry. For a time his base was the town of Ustariz-pres-Bayonne near the Atlantic coast and on the French-Spanish border. He painted there at least three street scenes with the mountain range as a backdrop-- variations on a theme--one of which was  Basses Pyrénées, 1873; he set them all along a road lined with traditional half-timbered basque buildings, covered with white-wash and adorned with traditional dark green shutters and other painted wood details. Revealing the influence of the well-known Spanish painter Mariano Fortuny, whom he met earlier in Paris or Spain, as well as his own initial experience working under the brilliant light of North Africa, Bridgman easily captured the glare effect of natural light illuminating the Ustariz buildings and figures. As would be expected of an academically trained artist, Bridgman painted the scene simply with clear and recognizable contours.

In the street of Basses Pyrénées, Bridgman recorded town life as a woman herding her horse and two bulls stops to chat with another local female. Figurative staffage is the main difference between Bases Pyrénées and the most famous of the Ustaritz street paintings, Un Voyage aux Pyrénées, also known as The Diligence, done the same year. Bridgman exhibited the much larger canvas first in Paris at the 1874 annual Salon and later that year in Liverpool where it was purchased by the Walker Art Gallery. In The Diligence, Bridgman replaced the gossiping females of Basses Pyrénées with a large coach filled with tourists rumbling quickly down the street. Although The Diligence was a personal memory of Bridgman’s travels, the smaller, slightly more intimate Basses Pyrénées retains the freshness and joy the artist experienced watching the neighborly interactions of traditional French life.

(possibly)Provenance:Collection of A. A. Low, Brooklyn, by 187374 (as Scene in Pyrénées) (possibly)Exhibited: Brooklyn Art Association, December 1873 exhibition, no. 284 (as Scene in Pyrénées) $4,000 - 6,000

90 AMERICAN & EUROPEAN ART 103 Frederic Arthur Bridgman (American, 1847-1928) Basses Pyrénées, 1873 oil on signedcanvas FA Bridgman, dated, and titled (lower left) 14 1/2 x 19 inches. We wish to thank Ilene Susan Fort, Ph.D., F. A. Bridgman authority and Curator Emerita, Los Angeles County Museum of Art, for confirming the authenticity of this lot and preparing the accompanying essay.

The present lot depicts a French Norman clock tower built in 1894 by architect George R. Mann and designed by Harvey Ellis. It stands at the entrance of Washington Terrace, which was laid out by Julius Pittman in 1890. The private place consists of 48 houses of varying style; Tudor Revival, Richardsonian Romanesque, and Italian Renaissance to name a few. Washington Terrace was declared a City Landmark by St. Louis in 1973.

$6,000 - 8,000

91FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM 104 Georges Ames Aldrich (American, 1872-1941) The Mill oil on signedboard G Ames Aldrich (lower left) 25 x 30 inches. Property from the Collection of Noel Davis TheProvenance:Estateof Roy J. Solfisburg, Jr., Chief Justice of the Illinois Supreme Court Thence by descent to the present owner $2,000 - 4,000 105 Paul Cornoyer (American, 1864-1923) Entry to Washington Terrace, St. Louis, Missouri oil on canvas 28 1/4 x 36 1/4 inches. Property from the Estate of Bud and Donna O. KampProvenance:WilkinsonGallery, St. Louis, Missouri Purchased from the above, by 1979

106 Wilson Irvine (American, 1869-1936)

DavidProvenance:Findlay Jr., New York $5,000 - 7,000

Youngstown,Exhibited: Ohio, Mahoning Institute of Art (partial label 107$2,000verso)-4,000

Midsummer oil on signedcanvas Irvine (lower left) 24 x 27 inches. Property from the Collection of Noel Davis

Toward Gaillac, 1919 oil on signedcanvas Allen Tucker and dated (lower right) 25 x 30 1/4 inches.

92 AMERICAN & EUROPEAN ART

J.F.Provenance:Harral,Aurora, Illinois The Estate of Roy J. Solfisburg, Jr., Chief Justice of the Illinois Supreme Court Thence by descent to the present owner

Allen Tucker (American, 1866-1939)

93FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

108 Hayley Lever (American, 1876-1958) Spring Along the Passiac River oil on signedcanvas Hayley Lever (lower right) 20 1/2 x 24 inches.

GeraldProvenance:Peters Gallery, New York (label verso) $2,000 - 4,000 109 Eric Sloane (American, 1905-1985) Landscape with Stone Barn, 1960 oil on signedpanelSloane (lower right); dated (verso) 27 x 31 inches. Property from the Estate of Joanne Wojtusiak, Cornwall Bridge, Connecticut $7,000 - 9,000

94 AMERICAN & EUROPEAN ART 110 Alexander Helwig Wyant (American, 1836-1892) Old Stubble Field (The Hayfield) oil on canvas laid to board signed A.H. Wyant (lower left) 20 1/4 x 36 1/4 inches. Property from a Private Estate, Colorado M.Provenance:Knoedler & Co., New York Purchased from the above, November 22, 1948 Thence by descent to the present owner $10,000 - 15,000

95FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

112 Emile Albert Gruppe (American, 1896-1978) The Bashful Model, 1926 oil on signedboardEmile A. Gruppe (lower right); titled, signed and dated (verso) 16 x 12 inches. The bashful model of the work is Ms. Doris Ellen Newlin. Gruppe, a family friend, often spent the summer with her family in Woodstock, New York, in the 1920s. This lot is accompanied by a photograph taken by the model’s mother at the time the artwork was executed that has been kept, along with the painting, since the work was completed.

111 Emile Albert Gruppe (American, 1896–1978) Winter Landscape oil on signedcanvas Emile A. Gruppe (lower right) 29 1/4 x 35 1/8 inches. Property from a Michigan Collector $3,000 - 5,000

AProvenance:Giftfromthe Artist Thence by descent to the current owner $2,000 - 3,000

ElizaLiterature:DeVeer and Richard J. Boyle, Sunlight and Shadow: the Life and Art of Willard L. Metcalf, p. 194-195, pl. 228 $80,000 - 120,000

96 AMERICAN & EUROPEAN ART 113 Willard Leroy Metcalf (American, 1858-1925) The Swimming Hole or The Bathing Hole, 1886 oil on signedcanvas W.L. Metcalf (lower right) 26 x 29 inches. This lot will be included in the forthcoming catalogue raisonné being coordinated by Betty Krulik and the Willard Leroy Metcalf Catalogue Raisonné Project, Inc.

CincinnatiExhibited: Art Museum, American Impressionist Painting, December 19, 1973 - January 31, 1974 (traveled to Raleigh, North Carolina, North Carolina Museum of Art, March 10April 29, 1974), no. 42

ChapellierProvenance:Gallery, New York Mann Gallery, Miami The Collection of Samuel and Grace Mann, Cleveland, Ohio

97FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

AnneLiterature:Cohen DePietro, “Three Generations of Wiggins Art,” Antiques & Fine Art, Summer 2011, p. 154, fig. 5, Likeillus.his father, J. Carleton Wiggins, Guy C. Wiggins assumed an active role in the Old Lyme colony, purchasing a farm in Lyme in 1920. Although he continued to maintain a base of operations in New York, he summered in Connecticut and produced numerous paintings of rural subjects, including Silvery Days, November, 1931. Painted with his characteristic broken brushstroke, the present light-filled canvas particularly acknowledges the influence of John Twachtman, as well as other American Impressionists working in the Old Lyme area. $6,000 - 8,000

98 AMERICAN & EUROPEAN ART 114 Guy Carleton Wiggins (American, 1883-1962) Silvery Days, November, 1931 oil on signedcanvas Guy Wiggins (lower right); signed, dated, and titled (verso) 25 1/4 x 30 inches.

NewExhibited:York, The Salmagundi Club Celebrates Three Generations of Salmagundi Painters: J. Carleton Wiggins (1848-1932), Guy C. Wiggins (1883-1962), Guy A. Wiggins (1920-), June 12 - July 1, 2011, p. 15, fig. 18, illus.

Sold:Provenance:Skinner, Marlborough, March 10, 2000, Lot 324 Sold: Christie’s East, New York, June 13, 2001, Lot 147 ACA Galleries, New York (label verso) Joan Whalen Fine Art, New York (label verso)

116 William Hubacek (American, 1871-1958) Lilacs, 1895 oil on signedcanvas WM Hubacek and dated (lower left) 47 3/4 x 32 1/8 inches. $6,000 - 8,000

$4,000 - 6,000

99FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

115 Guy Arthur Wiggins (American, 1920-2020) Flowers Before an Indian Painting oil on signedcanvas Guy A. Wiggins (lower right); signed, titled, and inscribed New York City (verso) 27 7/8 x 30 inches.

JoanProvenance:Whalen Fine Art, New York (label verso) NewExhibited:York, The Salmagundi Club Celebrates Three Generations of Salmagundi Painters: J. Carleton Wiggins (1848-1932), Guy C. Wiggins (1883-1962), Guy A. Wiggins (1920-), June 12 - July 1, 2011, pp. 17, 20-21, fig. 24, illus.

100 AMERICAN & EUROPEAN ART

$8,000owner

Still Life of Fruit oil on signedcanvas J. Kleitsch (lower right) 14 1/4 x 22 1/4 inches.

118

Twenty-five

117 Joseph Kleitsch (American/Hungarian, 1885–1931)

$6,000

RedfernProvenance:Gallery, Laguna Beach, California (label Privateverso)Collection, Southern California Sold: Bonhams & Butterfields, Los Angeles, May 1, 2012, Lot 23 Acquired at the above sale by the present - 12,000 Ben Austrian (American, 1870-1921) Chicks and a Yellow Butterfly, 1901 oil on signedcanvas Ben Austrian and dated (lower right) 10 x 35 inches. - 8,000

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.

GLOSSARY OF TERMS ADRIAEN JANSZ VAN OSTADE

ARTIST INDEX ARTIST NAME LOT Albright, Adam Emory 102 Aldrich, Georges Ames 104 Alke, Stephen 91 Austrian, Ben 118 Beaton, Cecil ....................... 84 Bonnard, Pierre 35 Botello, Ángel 40 Breanski, Alfred de, Sr. 85 Bridgman, Frederic Arthur 103 Brown, John George 101 Bussière, Gaston 48 Camoin, Charles 34 Canu, Yvonne 28 Cariot, Gustave Camille Gaston ........ 43-44 Cassatt, Mary 13 Cathelin, Bernard 26-27 Chagall, Marc 12 Clays, Paul Jean 64 Cornoyer, Paul 105 Corot, Jean Baptiste Camille 55 Dalí, Salvador 86-87 Dawson, Montague 69-75 Detti, Cesare Auguste ............... 67-68 Dongen, Kees Van 36 Doyle, Charles Altamont 80 Doyle, Richard 79, 81-83 Dufy, Jean 20-21 Dufy, Raoul 11 Dunoyer de Segonzac, André 16-17 Dyf, Marcel 30-31 Egger-Lienz, Albin 66 Ernst, Rudolf ........................ 65 Eve, Jean 42 Fantin-Latour, Henri 49 Flint, William Russell 78 Frequenez, Paul Léon 57 Friesz, Achille-Émile Othon 47 Frishmuth, Harriet Whitney 99 Fromentin, Eugène 53-54 Galien-Laloue, Eugène 50 Graham, John ....................... 93 Gruppe, Emile Albert 111-112 Guigou, Paul Camille 56 Hambourg, André 41 Hayden, Henri 37 Henri, Florence 94 Hubacek, William 116 Irvine, Wilson 106 Joseph, Ronald 95 Klee, Paul .......................... 1-2 Kleitsch, Joseph 117 Klimt, Gustav 3 Lê Phổ 22-24 Lebasque, Henri 9-10 Lever, Hayley 108 Luce, Maximilien 52 Maclet, Élisée 32-33 Marquet, Albert 18-19 Matisse, Henri ....................... 8 Meštrović, Ivan 96-98 Metcalf, Willard Leroy 113 Millet, Jean-François 6-7 Miró, Joan 4 Mønsted, Peder Mørk 59-62 Mühl, Roger 39 Nichols, Dale ....................... 92 Pissarro, Camille 5 Renoir, Pierre-Auguste (after) 46 Robie, Jean-Baptiste 63 Rousseau, Théodore 51 Schryver, Louis Marie de 45 Schwartz, William Samuel 88-90 Seago, Edward 76-77 Sloane, Eric 109 Tait, Arthur Fitzwilliam ................ 100 Tarkhoff, Nikolai Aleksandrovich 25 Tissot, James Joseph Jacques 58 Tucker, Allen 107 Utrillo, Maurice 14-15 Valadon, Suzanne 38 Venard, Claude 29 Wiggins, Guy Arthur 115 Wiggins, Guy Carleton 114 Wyant, Alexander Helwig .............. 110

FOLLOWER OF ADRIAEN JANSZ VAN OSTADE

101

STYLE OF . . .

Dimensions are given height before width.

ARTIST NAME LOT

This work, in our best opinion, is by the named ATTRIBUTEDartist.TO ADRIAEN JANSZ VAN OSTADE

MANNER OF ADRIAEN JANSZ VAN OSTADE

STUDIO 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.

To our best judgment, this work is likely to be by the artist, but with less certainty as in the aforementioned category.

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.

To our best judgment, this unsigned work may or may not have been created under the direction of the CIRCLEartist.OFADRIAEN JANSZ VAN OSTADE

To our best judgment, a work in the style of the artistand of a later period.

To our best judgment, a copy of a known work of the artist.

To our best judgment, a work by a painter emulating the artist’s style, contemporary or nearly contemporary to the named artist.

AFTER ADRIAEN JANSZ VAN OSTADE

102 AMERICAN & EUROPEAN ART ALYSSA D. @HINDMANAUCTIONS.COMALYSSAQUINLAN3DEVELOPMENTCHIEFEXECUTIVEQUINLANVICEPRESIDENT,BUSINESSOFFICER12.447.3272 MOLLY E. GRON, J.D. SENIOR VICE PRESIDENT DIRECTOR, TRUSTS & ESTATES @HINDMANAUCTIONS.COMMOLLYGRON312.334.4235 TIM LUKE CAI, BAS, MPPA, ISA-AM DIRECTOR, APPRAISALS & VALUATIONS @HINDMANAPPRAISALS.COMTIMLUKE561.833.8053 KRISTINATLANTA VAUGHN VICE BUSINESSPRESIDENTDEVELOPMENT SENIOR DIRECTOR MILWAUKEE@HINDMANAUCTIONS.COM414.220.9200BUSINESSSARAMILWAUKEEDETROIT@HINDMANAUCTIONS.COM313.774.0900BUSINESSPAMDETROITDENVER@HINDMANAUCTIONS.COM303.825.1855BUSINESSCHRISTINEDENVERCLEVELAND@HINDMANAUCTIONS.COM216.292.8300BUSINESSCARRIECLEVELANDCINCINNATI@HINDMANAUCTIONS.COM513.666.4987BUSINESSVAUGHNCINCINNATIATLANTA@HINDMANAUCTIONS.COM404.800.0192SMITHDEVELOPMENTMANAGERPINNEYDEVELOPMENTMANAGERBROSKIDEVELOPMENTMANAGERIACOBELLIDEVELOPMENTDIRECTORMULLOYDEVELOPMENTDIRECTOR ELIZABETHNAPLES RADER, PHD BUSINESS DEVELOPMENT DIRECTOR WASHINGTONDC@HINDMANAUCTIONS.COM202.853.1638BUSINESSVICEMAURAWASHINGTONSTLOUIS@HINDMANAUCTIONS.COM314.833.0833BUSINESSANNAST.SCOTTSDALE@HINDMANAUCTIONS.COM480.546.5150BUSINESSLOGANSCOTTSDALESANDIEGO@HINDMANAUCTIONS.COM858.442.6104BUSINESSVICEKATIESANPALMBEACH@HINDMANAUCTIONS.COM561.833.8053BUSINESSSARAHMIAMI,NAPLES@HINDMANAUCTIONS.COM239.643.4448PALMBEACHROYDEVELOPMENTDIRECTORDIEGOGUILBAULT,G.G.PRESIDENTDEVELOPMENTDIRECTORBROWNINGDEVELOPMENTDIRECTORLOUISSHAVERDEVELOPMENTDIRECTORD.C.ROSSPRESIDENTDEVELOPMENTDIRECTOR JOSEPH STANFIELD VICE @HINDMANAUCTIONS.COMJOSEPHSTANFIELD312.600.6063SENIORPRESIDENT,SPECIALIST JULIANNA TANCREDI SENIOR @HINDMANAUCTIONS.COMZACHARYWIRSUM312.600.6069CONTEMPORARYPOSTDIRECTOR,ZACHARY@HINDMANAUCTIONS.COMJULIANNATANCREDI312.334.4228RESEARCHERWIRSUMSENIORSPECIALISTWAR&ARTABBY @HINDMANAUCTIONS.COMABBYCHAMBERS312.334.4234ASSOCIATECHAMBERSSPECIALIST CHRISTINA @HINDMANAUCTIONS.COMCHRISTINAKIRIAKOS312.334.4216DEPARTMENTKIRIAKOSCOORDINATOR MONICA DIRECTOR,BROWNSENIOR SPECIALIST FINE @HINDMANAUCTIONS.COMJOHNMARTINEZ312.600.6064DEPARTMENTJOHN@HINDMANAUCTIONS.COMMONICABROWN303.825.1855PRINTSMARTINEZCOORDINATORANGELA @HINDMANAUCTIONS.COMANGELAWHITAKER872.270.3105ASSOCIATEWHITAKERSPECIALIST ALEXANDRIA DREAS ASSOCIATE @HINDMANAUCTIONS.COMALEXANDRIADREAS303.825.1855SPECIALIST PAULINE @HINDMANAUCTIONS.COMPAULINEARCHAMBAULT513.871.1670SPECIALISTARCHAMBAULT CAMERON @HINDMANAUCTIONS.COMCAMERON312.280.1212FINECATALOGUERQUADEARTQUADE MADALINA LAZEN DIRECTOR, SENIOR SPECIALIST EUROPEAN @HINDMANAUCTIONS.COMMADALINELAZEN561.833.8053ART KATHERINE HLAVIN DIRECTOR, SENIOR SPECIALIST @HINDMANAUCTIONS.COMKATHERINEHLAVIN303.825.1855 LAURA DIRECTOR,PATERSONSENIOR SPECIALIST @HINDMANAUCTIONS.COMLAURAPATERSON312.280.1212PHOTOGRAPHS Fine Art Estates, Appraisals & Business Development THEA @HINDMANAUCTIONS.COMTHEAANDRUS312.280.1212FINECATALOGUERANDRUSART Offices

103FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM Upcoming Auction Schedule Friedel (American,Dzubas1915-1994) Aglaura, Estimate:1978$50,000 - 70,000 To be offered September 28, Post War and Contemporary Art SALE 1072 THE LIFETIME COLLECTION OF FORREST FENN, PART II SEPTEMBER 8 | CINCINNATI | LIVE + ONLINE SALE NATIVE1073AMERICAN ART, SESSION I SEPTEMBER 9 | CINCINNATI | LIVE + ONLINE SALE IMPORTANT1075 JEWELRY SEPTEMBER 13 | CHICAGO | LIVE + ONLINE SALE AMERICAN1060 FURNITURE, FOLK & DECORATIVE ART SEPTEMBER 14-15 | CINCINNATI | LIVE + ONLINE SALE JAPANESE1078& KOREAN WORKS OF ART SEPTEMBER 22 | CHICAGO | LIVE + ONLINE SALE CHINESE1077AND HIMALAYAN WORKS OF ART SEPTEMBER 23 | CHICAGO | LIVE + ONLINE SALE AMERICAN1057 & EUROPEAN ART SEPTEMBER 27 | CHICAGO | LIVE + ONLINE SALE AMERICAN1055 & EUROPEAN ART ONLINE SEPTEMBER 27 | CHICAGO | ONLINE SALE 1058 POST WAR & CONTEMPORARY ART SEPTEMBER 28 | CHICAGO | LIVE + ONLINE SALE CASTING1123SPELLS: THE GERTRUDE ABERCROMBIE COLLECTION OF LAURA AND GARY MAURER SEPTEMBER 28 | CHICAGO | LIVE + ONLINE SALE PRINTS1059&MULTIPLES SEPTEMBER 29 | CHICAGO | LIVE + ONLINE SALE ASIAN1079WORKS OF ART ONLINE SEPTEMBER 30 | CHICAGO | TIMED SALE JEWELS1080ONLINE OCTOBER 3 | CHICAGO | ONLINE SALE 1081 THE COLLECTION OF ROBERT AND MARY MONTGOMERY OCTOBER 6 | PALM BEACH | LIVE + ONLINE

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104 AMERICAN & EUROPEAN ART LEADERSHIP JAY FREDERICK KREHBIEL CHIEFCO-CHAIREXECUTIVE OFFICER LESLIE

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MARKETING ASHLEY GALLOWAY VICE PRESIDENT PHOTOGRAPHY ZOË DIRECTORBARE*OF PHOTOGRAPHY DAVID 8/8/22*HARLEYCORYDALLASRACHELBILLMIKELIBBYAMELIADEOGRACIASCAITLINLIMCHADDAIJACARMENAVERYGABBYPHOTOGRAPHYJACKSONSUPERVISORBOSHARACAMPBELL*COLOMEGUYFEIERSTONE*HWOANGKELLYTHOMPSONLERMA*MOOREMOORE*REINDERSROSSSMITH*TOLENTINO*TOWE*WINCELEADPHOTOGRAPHYTEAMFORSALE1057

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Updated 4/8/22

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.

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.

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.

Appraisals

Standard Commission Rates

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.

Telephone Bidding

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

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.

Evaluation of Property

Conditions of Sale

105FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

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.

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.

Viewing Auction Items

All bidders with Hindman LLC must read and agree to Conditions of Sale posted in this catalogue prior to bidding at an auction.

Guide for Prospective Sellers and Buyers

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

Bidding at Auction

Bidding Increments

Condition Reports

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.

Absentee 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.

GUIDE FOR PROSPECTIVE SELLERS

GUIDE FOR PROSPECTIVE BUYERS

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.

106 AMERICAN & EUROPEAN ART 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.

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. BIDDING IN THE SALEROOM

4. ESTIMATES

(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 (b)bids.Internet

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 temporary authorization hold on the card that will remain until it falls off, usually within 2 to 7 days.

A. BEFORE THE AUCTION

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.

If you wish to bid in the saleroom, you must first acquire a bidding paddle at least thirty (30) minutes before the auction.

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.

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. Hindman has several salerooms throughout the country and the location of sales, or individual items may vary. It is important to check with our website and be aware of where each lot is located, for both viewing and for shipping purposes.

3. RETURNING BIDDERS

1. LOT DESCRIPTIONS AND WARRANTIES

3. VIEWING LOTS

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.

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.

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.

7. CREDIT CARD AUTHORIZATION HOLD

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 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.

B. REGISTERING TO BID 1. GENERAL We reserve the right to reject any bid. By participating in the sale, you represent and warrant that: (a) The bidder and/or purchaser is not subject to trade sanctions, embargoes or any other restriction on trade in the jurisdiction in which it does business as well as under the laws and regulations of the United States, and is not owned (nor partly owned) or controlled by such sanctioned person(s) (collectively, “Sanctioned Person(s)”); (b) Where you are acting as agent, your principal is not a Sanctioned Person(s) nor owned (or partly owned) or controlled by Sanctioned Person(s); and (c) The bidder and/or purchaser undertakes that none of the purchase price will be funded by any Sanctioned Person(s), nor will any party be involved in the transaction including financial institutions, freight forwarders or other forwarding agents or any other party be a Sanctioned Person(s) nor owned (or partly owned) or controlled by a Sanctioned Person(s), unless such activity is authorized in writing by the government authority having jurisdiction over the transaction or in applicable law or regulation.

2. NEW BIDDERS

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.

(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

6. OUR BIDDING SERVICES

C. DURING THE AUCTION 1. BIDDING IN THE AUCTION

5. WITHDRAWAL

New bidders must register at least twenty-four (24) hours before an auction and must provide us with documentation of their identity.

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.

4. BIDDING FOR ANOTHER PERSON

Conditions of Sale

2. CONDITION

(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, including bidders through third-party bidding sites. 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 Auctions. The auctioneer will accept bids from Internet bidders, including bidders through third-party bidding sites. 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. (c) Timed Auctions. Bids may only be submitted on our website 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.

(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.

(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. Hindman has several salerooms throughout the country and the location of sales, or individual items may vary. It is important to check with our website and be aware of where each lot is located, for both viewing and for shipping.

D. AFTER THE AUCTION

(e) We can reveal your identity and contact details to the seller.

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.

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:

(v) ACH Bank Transfer (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.

2. AUCTIONEER’S DISCRETION

5. TRANSFERRING RISK TO YOU

(iv) Credit card: Credit card payments may not exceed $10,000 and a convenience fee of 3% will be added to each credit card payment.

(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.

(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 (c)appropriate.Inaccordance 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).

(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 (d)amount.Wecan 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.

(h) We can take any other action we deem necessary or appropriate.

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).

(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.

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. Please note that Hindman will not accept payments for purchased lots from any party other than the purchaser, unless otherwise agreed between the purchaser and Hindman prior to the sale.

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.

7. SHIPPING, COLLECTION, AND STORAGE

(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

8. EXPORTING, IMPORTING, AND ENDANGERED SPECIES

3. MAKING PAYMENT

4. TRANSFERRING OWNERSHIP TO YOU

4. SUCCESSFUL BIDS AND INVOICES

2. TAXES

6. YOUR FAILURE TO PAY

(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.

(a) We can charge interest from the due date at a rate of up to one and one-half 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.

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.

107FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

3. BIDDING ON BEHALF OF THE SELLER

(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.

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 a set increment lower than the lot’s low estimate and will solicit higher bids from that amount. If there are no bids on a lot, the auctioneer may deem the lot unsold.

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.

(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.

(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.

6. YOUR WARRANTIES

(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.

(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.

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.

108 AMERICAN & EUROPEAN ART 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.

5. WATCHES AND CLOCKS

(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.

“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.

(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.

(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.

(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.

3. ADDITIONAL WARRANTY FOR BOOKS

(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.

The gemological laboratories only report on the improvements or treatments known to them at the date they make the report.

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:

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.

(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.

(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.

(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.

(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.

(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.

(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.

(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.

(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.

(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.

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 (a)circumstances:Wewillrefund 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:

(c) It does not apply to any Heading or part of a Heading that is qualified.

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

(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.

F. OUR LIABILITY TO YOU

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.

(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 (e)artist.“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. Update 1/1/22

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

(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.

(b) We are not responsible to you for any reason (whether for breaking this agreement or for any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us, or other than as expressly set out in these Conditions of Sale.

(f) 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.

(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.

(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.

4. ENFORCING THIS AGREEMENT

H. authenticGLOSSARY : 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 (a)terms:“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.

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.

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.

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.

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

109FOR ADDITIONAL IMAGES AND LOT DETAILS VISIT HINDMANAUCTIONS.COM

We will hold and process your personal information in line with our privacy policy at www.hindmanauctions.com.

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. You and we agree to try to settle the dispute by mediation submitted to JAMS, or its successor, for mediation in Illinois. If the dispute is not settled by mediation within sixty (60) days from the date when mediation is initiated, then the dispute shall be submitted to JAMS, or its successor, for final and binding arbitration in accordance with its Comprehensive Arbitration Rules and Procedures or, if the dispute involves a non-US party, the JAMS International Arbitration Rules. The seat of the arbitration shall be Illinois, and the arbitration shall be conducted by one arbitrator, who shall be appointed within thirty (30) days after the initiation of the arbitration. The language used in the arbitral proceedings shall be English. The arbitrator shall order the production of documents only upon a showing that such documents are relevant and material to the outcome of the dispute. The arbitration shall be confidential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be final and binding on all parties involved. Judgment upon the award may be entered by any court having jurisdiction thereof or having jurisdiction over the relevant party or its assets. This arbitration and any proceedings conducted hereunder shall be governed by Title 9 (Arbitration) of the United States Code and by the United Nations Convention on the Recognition and Enforcement of Foreign Arbitral Awards of June 10, 1958.

2. RECORDINGS

G. OTHER TERMS

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.

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

Casting Spells:The Gertrude Abercrombie Collection of Laura and Gary Maurer SEPTEMBER 28 | 6 PM CT CHICAGO | SINGLE OWNER AUCTION INQUIRIES Joseph Stanfield Vice President, Senior Specialist 312.600.6063 josephstanfield@hindmanauctions.com HINDMANAUCTIONS.COM Gertrude (American,Abercrombie1909-1977) Eggs and Carnation, 1955 Estimate: $80,000 - 120,000

2022SEPTEMBER27|ARTEUROPEAN&AMERICANNO.1057