Sale 373 | The Collection of Carol H. and Richard M. Levin, Kansas City, Missouri

LESLIE HINDMAN AUCTIONEERS

lh

L E S L I E H I N D M A N AU C T I O N E E R S May 20 , 2015 NO. 373

1338 West Lake Street Chicago, Illinois 60607 l ph 312.280.1212 l fx 312.280.1211 l lesliehindman.com

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri

no.373

lh Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri wednesday 20 may | 5:30PM CST

P R E V I EW saturday 16 may | 10am - 3pm sunday 17 may | 12pm - 4pm monday 18 may | 10am - 5pm tuesday 19 may | 10am - 5pm AUCTION wednesday 20 may I 5:30PM Lots 1 - 33

PROPERTY PICK UP HOURS MONDAY – FRIDAY, 9:00AM - 4:30PM All property must be picked up within seven business days per our Conditions of Sale.

BID LIVE ONLINE

All lots in this sale are tax exempt as permitted by law.

www.lesliehindman.com Cover Lot 4 Thomas Hart Benton Discussion, 1969

©Leslie Hindman Auctioneers, Inc. 2015 CHICAGO, ILLINOIS ILLINOIS AUCTION FIRM LICENSE NUMBER 444-000295

Contents property from the collection of Carol H. and Richard M. Levin ARTIST INDEX

Opposite Lot 14 John French Sloan Playing to Empty Seats

Lots 1–33

8 50

GLOSSARY OF TERMS

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AUCTION INQUIRIES

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CONDITIONS OF SALE

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TELEPHONE / ABSENTEE BID FORM

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c ar o l h . a nd r ich a r d m . l evin It was a pleasure growing up in Kansas City, Missouri

Dick founded an importing and wholesaling company,

with Carol H. and Richard M. Levin as our parents.

Jason/Empire, Inc. in 1949. The company started by

The collection of American art offered on May 20,

importing binoculars and other optical devices from

2015 is a reflection of the way Carol and Dick lived

France and Germany. Later, competitive pressures

their lives. Some people want to try many things

and production opportunities led Dick to move

over the course of their lives, getting a taste of all the

sourcing to Japan, Hong-Kong and elsewhere in Asia.

world has to offer. Our parents, on the other hand,

For over thirty years Dick overcame the challenges

took a more articulated approach. They focused on a

of this business, growing the company dramatically,

few things they liked, but pursued them deeply. This

taking Jason/Empire public and ultimately selling it

approach is evident in the collection they created

and retiring in the mid-1980s.

over the last fifty years.

Just as Jason/Empire was a thirty year passion Dick was born in Chicago in 1925 and moved to

for Dick, so was France for the two of them. Dick’s

Kansas City early in his childhood. Carol was born in

early search for suppliers took him there in 1949.

Kansas City in 1932. Both came from conservative,

Although the country was still visibly damaged from

Midwestern families and a tight, loving community.

World War II, the great hotels, restaurants, shops and

Brought up during the Depression and World War II

promenades were open and welcoming (especially to

(during which Dick served and was wounded while

those with American dollars). By the time he started

in the United States Army), they both came to

taking Carol, Paris had regained its luster. When they

appreciate the good fortune that their years together

added trips to the Côte d’Azur, they knew they had

brought them.

found their paradise.

Annual vacations might include other locations, but France was always on the itinerary.

Traveling to world class locations meant bringing some of that back home with them. Their choices in apparel, home decor, food, automobiles, etc. began to reflect this. And that attitude continued to the collection of art in their home, which had already begun in 1956.

Dick and Carol’s collection began innocently enough.

They were already fans of Thomas Hart Benton and a relative arranged for them to visit Tom and Rita in their home. Dick described the meeting as follows: “Tom offered us a whisky, and was probably two or three drinks ahead of us. When he took us to his studio in the old carriage house, I spotted the small portrait of Carl Sandburg. I asked him if it was for sale.

He said two hundred fifty dollars. I said we’d take it.

When he told Rita we’d bought the Sandburg, she exclaimed Two hundred fifty dollars? With the frame?

Mon Dieu.’”

Carol

and

Dick

also

bought

another

Benton

directly from the artist (Study for “Flood Disaster (Homecoming - Kaw Valley”) and were about to buy a third when Rita advised them “For God’s sake, you’ve got to start buying somebody beside Benton.” Dick went to the library and checked out a book called How to Collect. It advised becoming familiar with one period and concentrating on that special area as the start of a collection.

That advice evidently struck a philosophical chord, and from then on they focused on American paintings of the 20th century, particularly the Ashcan School.

Despite Rita’s advice and their wider collecting scope, the couple did eventually acquire a third painting by Benton, with their purchase of Discussion in 1987.

Their collection expanded with Dick’s business trips to New York. He often took breaks from work to sneak visits to the galleries specializing in American art. He always enjoyed the prestige of the galleries and their beautifully presented paintings, as well as the careful attention he was paid by the gallerists.

An inscribed 1956 edition of Thomas Hart Benton’s autobiography An Artist in America is a treasured Levin family memento.

Childe Hassam (American, 1859-1935) Old Barn and the Birches, 1927

Three paintings were purchased during these trips in

Katherine Sehon, to the gallery in memory of Carol

the ‘60s, including Robert Henri’s Portrait of Bridget

following her death in 2000. Later, Dick participated

Lavelle, Childe Hassam’s Old Barn and the Birches

in the Museum’s out of town trips to view notable

and Ernest Lawson’s Reflections, and they remained

collections, but more often he played host to groups

among the couple’s favorites.

visiting Kansas City, proudly showing perhaps the best American art collection in the Midwest in his

Carol and Dick’s dedication to art extended beyond

stylish condo overlooking the Country Club Plaza.

their home. Dick was extremely active with the Nelson-Atkins Museum of Art in Kansas City, serving

By the time Dick died in early 2014, his approach to

on the Board of Trustees, on the Steering Committee

art reflected the focus he and Carol had placed on

of the Business Council and on the Investment

his business and their travel. Maybe there were other

Committee. He was also on the Board of The Kansas

things out there, but what they knew, they knew well,

City Art Institute as Treasurer and Vice-Chairman.

and always loved.

Carol and Dick loaned both the Lawson Reflections and Sloan charcoal Playing to Empty Seats to the Nelson-Atkins to hang as part of shows on separate occasions. Dick also donated a Sloan painting,

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Ann Levin Brendle, Nancy Levin and Michael Levin

Bridget Lavelle by Robert Henri watches over Richard Levin’s mother Marion and her grandson Michael in this mid-1960s family snapshot.

Siblings Michael Levin and Ann Levin Brendle celebrate a 1970s Christmas with Benton’s Study for “Portrait of Carl Sandburg” and Study for “Flood Disaster (Homecoming – Kaw Valley)”.

A young Ann Levin Brendle shares camera time with her parent’s art collection, including The Dancers by Moses Sawyer.

Nancy Levin, her husband Jeff Flora and Michael Levin share a toast to the love of family and fine art.

Ann Levin Brendle shares a family moment with her maternal grandmother Gladys Hoffman and Thomas Hart Benton’s Discussion.

Richard Levin and grandchildren Molly Flora Powers and Jamie Levin pose for a family portrait in 1991 with Ernest Lawson’s Reflections in the background.

Property from the Collection of Carol H. and Richard M. Levin Lots 1–33

Opposite Lot 17 Robert Henri Bridget Lavelle

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Aaron Bohrod

(American, 1907-1992) South Side, Chicago oil on panel signed Aaron Bohrod (lower right) 12 x 16 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: Oehlschlaeger Gallery, Chicago Acquired directly from the above by the present owner, 1965 $3,000-5,000

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William Gropper

(American, 1897-1977) Jury oil on canvas signed Gropper (lower right); titled (verso) 13 7/8 x 36 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: ACA Gallery, New York Acquired directly from the above by the present owner, 1966 $6,000-8,000

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Thomas Hart Benton Study for “Portrait of Carl Sandburg” 3

Thomas Hart Benton

(American, 1889-1975) Study for “Portrait of Carl Sandburg,” c. 1956 tempera on aluminum lithographic plate signed Benton (lower right) 12 x 8 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: The artist Acquired directly from the above by the present owner This work will be included in the forthcoming Thomas Hart Benton catalogue raisonné being prepared by the Thomas Hart Benton Catalogue Raisonné Foundation.

Committee Members: Dr. Henry Adams, Jessie Benton, Anthony Benton Gude, Andrew Thompson and Michael Owen. $30,000-50,000

A self-taught and frequently performing musician, Thomas Hart Benton was deeply interested in American folk music. As a child in the Ozarks, he was exposed to his maternal grandfather’s fiddle and mother’s piano playing. The artist made numerous expeditions throughout the Appalachians in the 1920s, wherein he sketched the musicians he met and admired “…their plaintive, slightly nasal voices and their way of short bowing the violin” (Thomas Hart Benton, An Artist in America, p. 113). While living in New York City in the early 1930s, Benton and his wife hosted Saturday evening music sessions, and in 1931 he taught himself how to play the harmonica.

Benton’s interest in folk music led him to eventually meet the poet, historian, social activist, and musician Carl Sandburg. Sandburg’s 1927 anthology of folk songs, the American Songbag, enjoyed enormous popularity, going through many editions. Sandburg himself is considered by many to be the first American urban folk singer, accompanying himself on solo guitar at lectures and poetry recitals, and in recordings. Both men sought to preserve and celebrate the living musical heritage of rural America and those who performed it.

Benton executed portraits of a number of notable people throughout his career, including former president Harry Truman, artist Stanton MacdonaldWright, and musician Carl Ruggles. In Study for “Portrait of Carl Sandburg,” Benton emphasizes the stillness of the poet-singer, who sits against a plain, dark backdrop and quietly gazes down at a sheaf of papers. Completed circa 1956, when Sandburg would have been seventy-eight, the artist respects his subject’s age and with active, broad brushstrokes shows his shock of white hair and craggy visage. The simplicity of the setting and the unyielding, honest depiction of the portrait highlight that here is an individual who has lived and experienced a full life.

This work is the only known study for the final painting of Sandburg by the artist, which resides in the collection of the Thomas Hart Benton Trust, Kansas City, Missouri.

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Thomas Hart Benton Discussion 4

Thomas Hart Benton

(American, 1889-1975) Discussion, 1967 tempera on canvas wrapped around board signed Benton and dated (lower left); signed, titled and dated (verso) 16 x 20 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: The artist John W. Callison, acquired directly from the above, 1968 Acquired directly from the above by the present owner, 1987 Exhibited: Saint Joseph, Missouri, Albrecht Gallery of Art, February 6-March 1, 1970 Literature: Thomas Hart Benton, An American in Art: A Professional and Technical Autobiography, Lawrence, 1969, p. 144, illus.

M. Baigell, Thomas Hart Benton, New York, 1974, n.p., no. 217, illus.

This work will be included in the forthcoming Thomas Hart Benton catalogue raisonné being prepared by the Thomas Hart Benton Catalogue Raisonné Foundation.

Committee Members: Dr. Henry Adams, Jessie Benton, Anthony Benton Gude, Andrew Thompson and Michael Owen. $200,000-400,000

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As one of the foremost proponents of the Regionalist movement, Thomas Hart Benton was the champion of the common man. What he wanted most of all was to “make pictures, the imagery of which would carry unmistakenly American meanings for Americans” (Benton as quoted in M. Baigell, Thomas Hart Benton, New York, 1973, p. 87). The artist intended his dynamic, narrative paintings to be intelligible to all citizens and grounded in the values of the American republic. In Discussion, Benton monumentalizes a quintessentially American scene of the mid-20th century with his depiction of a laborer and union recruiter.

In 1937, Life hired Benton to travel to Flint, Michigan to report on the “sit-down” strikes against General Motors. The United Auto Workers union had recently achieved a major victory against the company, after months of occupation and court battles. Michigan was viewed as on the verge of a civil war between leftist union workers and union busters. Life wanted Benton to provide firsthand sketches of the conspiratorial communists and fascists, as they saw them.

What resulted were seventeen comically benign drawings of various picnics and bar room discussions. When reproduced in Life, Study for “Discussion” (lot 5) was given the tongue-in-cheek caption, Tactical Discussion in Flint’s Smolny Institute, an allusion to Lenin’s headquarters during the 1917 October Revolution. What Benton shows is nothing more sinister than a conversation between an African American laborer and a union recruiter in Pengelly Hall, the headquarters of the UAW. Benton often revisited past sketches, reworking ideas to create fully realized paintings. In 1967, he produced the present painting, based on Study for “Discussion.” In this work, the artist portrays the sitters in his characteristically sculptural style and removes any allusion to the union or the strikes. He instead emphasizes the communication between two fellow men, as one man reaches emphatically towards the other. In his commentary on the lithograph of the same image (lot 6) published in 1969, Benton writes: “Some newspaper reporters had written on these strikes as if they were the beginnings of revolution. I found neither talk about or desire for revolution - only an itch for more money. The drawing from which this lithograph was made represents a discussion between a union recruiter and a negro worker. The union boss sits in the background looking on” (Fath, p. 184). In all three works, Benton looks past the political fanaticism and depicts these men as individuals intent on a common goal.

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Thomas Hart Benton

(American, 1889-1975) Study for “Discussion” (also known as Tactical Discussion in Flint’s Smolny Institute), 1937 sepia wash, ink and pencil signed Benton (lower right) 8 1/2 x 11 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: The artist John W. Callison, acquired directly from the above, 1968 Acquired directly from the above by the present owner, 1987

Literature: “The Artist Thomas Hart Benton Hunts Communists and Fascists in Michigan,” Life, July 26, 1937, pp. 22-25, illus.

K. A. Marling, Tom Benton and His Drawings, Columbia and London, 1986, p. 95, illus.

H. Adams, Thomas Hart Benton: Drawing From Life, New York, 1990, p. 174, illus.

E. Doss, Benton, Pollock, and the Politics of Modernism, Chicago, 1991, fig. 3.14, pp. 181, 184, illus.

Lot Note: On the verso of the present lot is a note in the artist’s hand that reads: “’Discussion’ made in 1937 in Flint, Michigan at time of famous ‘sit-down’ strikes. Used in Life July 26- ‘37.” Thomas Hart Benton” $6,000-8,000

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Thomas Hart Benton

(American, 1889-1975) Discussion, 1969 lithograph; Associated American Artists, New York City, pub. edition of 250, signed Benton (lower right) 9 3/4 x 11 7/8 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Ref: Fath, 82 Provenance: The artist John W. Callison, acquired directly from the above, 1968 Acquired directly from the above by the present owner, 1987 $2,000-4,000

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Thomas Hart Benton Study for “Flood Disaster (Homecoming – Kaw Valley)” 7

Arguably one of the foremost leaders of the Regionalist movement, Thomas Hart Benton celebrated and embraced American life of the mid-20th century.

His bold, sculptural compositions monumentalized the country’s land, its people, their beauty, strength, and often, tragedy. Study for “Flood Disaster (Homecoming - Kaw Valley)” is a painting the artist executed in 1951 in response to disastrous flooding of the Kansas River valley that summer. The flood destruction was the worst recorded in United States history up to that point, resulting in the displacement of over 500,000 people and seventeen deaths. Damages were estimated at 1 billion dollars, but the planned relief program would only provide 113 million dollars.

The hardest hit areas were working class neighborhoods such as Armourdale and Argentine, where the floods, and then a fire, ravaged thousands of homes. Benton traveled to the area several times to see the destruction first-hand, with the intent to create a painting that would stir America and Congress to provide greater aid to the region. During his tours of the Armourdale district, the artist produced sketches of the devastated neighborhood.

From these drawings, Benton developed a study that interpreted his firsthand observations, in order to develop a greater visual impact that he hoped would move people to action. In Study for “Flood Disaster (Homecoming - Kaw Valley),” a family comes back to inspect the remains of their home only to find everything they own displaced and in disrepair: a house nearly on its side and a stovepipe dangling from the branches of a tree. The artist successfully balances the theatrical nature of these components with a tender human element that is even more fully developed in the details of the final version of the painting (now in a the Collection of Jeanne and Rex Sinquefield, St. Louis, Missouri). However, the vivid colors and sense of energy imparted by the twisting figures that he first captures in this study remain the same.

Thomas Hart Benton

(American, 1889-1975) Study for “Flood Disaster (Homecoming - Kaw Valley),” c. 1951 tempera on board signed Benton (lower right) 8 1/2 x 10 3/4 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: The artist Acquired directly from the above by the present owner Literature: “Artist Asking Congress to Aid Flood Victims,” New York Times, October 15, 1951 This work will be included in the forthcoming Thomas Hart Benton catalogue raisonné being prepared by the Thomas Hart Benton Catalogue Raisonné Foundation.

Committee Members: Dr. Henry Adams, Jessie Benton, Anthony Benton Gude, Andrew Thompson and Michael Owen. $120,000-180,000

In addition to the present study and final painting, Benton produced a lithograph of the same image to distribute to every member of Congress.

While the lithograph failed to initially sway the Congressional vote for more funds, the artist’s gesture was certainly noticed and publicized. He appeared in the New York Times with this study and the lithograph on October 15, 1951.

Several other news articles in the following months documented his efforts to aid the ravaged valley.

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John Steuart Curry

(American, 1897-1946) Self Portrait, 1946 oil on canvas signed John Steuart Curry and dated (lower left) 29 7/8 x 24 inches.

Property from the Richard and Carol Levin Foundation, Kansas City, Missouri Provenance: The artist Collection of Dr. Daniel Schuster and Mrs. Ellen Curry Schuster Vivian Kiechel Fine Art, Lincoln, Nebraska Acquired directly from the above by the present owner, 1996

9 Exhibited: Kansas City, Missouri, The Nelson-Atkins Museum, September 1998-January 1999 Kansas City, Missouri, The Nelson-Atkins Museum, Bingham to Benton: The Midwest as Muse, February 5-July 31, 2005 Kansas City, Missouri, The Nelson-Atkins Museum, February 5-October 31, 2009 $40,000-60,000

Moses Soyer

(American, 1899-1974) The Dancers oil on canvas signed M. Soyer (lower right) 10 1/8 x 14 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: The artist Mrs. Lewis Hoffman, acquired directly from the above Acquired directly from the above by the present owner $3,000-5,000

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Moses Soyer

(American, 1899-1974) Nude with Blue Shawl oil on canvas signed M. Soyer (upper right) 20 x 16 1/8 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: ACA Galleries, New York Acquired directly from the above by the present owner, 1964 $1,500-2,500

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Raphael Soyer

(American, 1899-1987) Head of a Girl oil on canvas signed Raphael Soyer (lower right) 12 x 9 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: ACA Galleries, New York Acquired directly from the above by the present owner, 1968 $1,500-2,500

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Reginald Marsh

(American, 1898-1954) Girl in Blue Skirt and A 14th Street Shopper (a double-sided work), 1953 oil on board signed R. Marsh and dated (lower right); signed Reg. Marsh and dated (verso) 13 7/8 x 9 3/4 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: The Estate of Reginald Marsh Frank K. M. Rehn, Inc., New York Acquired directly from the above by the present owner, 1962 $6,000-8,000

(verso)

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Guy Pène Du Bois

(American, 1884-1958) Girl at Montparnasse, 1927 watercolor and ink on paper signed Guy Pène Du Bois and dated (lower center) 14 7/8 x 11 3/8 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: Paul Magriel, New York Hirschl & Adler Galleries, New York Acquired directly from the above by the present owner, 1991

Exhibited: New York, New York, The Finch College Museum of Art, and New Orleans, Louisiana, Isaac Delgado Museum of Art, Paul Magriel: Collection of American Drawings, June 9-August 31, 1961, no. 25 New York, New York, The American Federation of the Arts, One Hundred Years of AmericanRealism: Watercolors and Pastels from the Paul Magriel Collection,1964-66, no. 28 Oneonta, New York, The Museums at Hartwick, Hartwick College, The Art of the 20s, October-November, 1978 New York, New York, Kennedy Galleries, The Spontaneous Eye: American Drawings from the Twentieth Century, September 10-October 5, 1985 New York, New York, Hirschl & Adler Galleries, A Sense of Line: American Modernist Works on Paper, November 25, 1989-January 6, 1980

Literature: Kennedy Galleries, The Spontaneous Eye: American Drawings from the Twentieth Century, exhibition catalogue, New York, 1985, no. 5, illus.

S. Schwartz, A Sense of Line: American Modernist Works on Paper, exhibition catalogue, Hirschl & Adler Galleries, New York, 1989-90, no. 10, p. 18, illus. $3,000-5,000

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John French Sloan

(American, 1871-1951) Playing to Empty Seats, 1913 crayon, frottage, watercolor, ink and charcoal on paper laid to illustration board signed John Sloan and dated (lower left) 23 x 16 3/4 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: Kraushaar Galleries, New York, 1936 Childs Gallery, Boston, 1952 Mr. and Mrs. Arthur G. Altschul Hirschl & Adler Galleries, New York Acquired directly from the above by the present owner, 1978 Exhibited: New York, New York, Folsom Galleries, Initial Exhibition of the American Salon of Humorists, April 17-May 1, 1915 Andover, Massachusetts, Addison Gallery of American Art, Phillips Academy, John Sloan Retrospective Exhibition, 1938 New York, New York, The Whitney Museum of American Art, This is Our City: An Exhibition of Paintings, Watercolors, Drawings and Prints, March 11-April 13, 1941, no. 131 New York, New York, The Whitney Museum of American Art, and elsewhere, John Sloan 1871-1951, January 10-March 2, 1952 New York, New York, The Century Association, Exhibition of Life in New York City, 1954 Minneapolis, Minnesota, University of Minnesota, University Gallery, and Grand Rapids, Michigan, Grand Rapids Art Gallery, Music and Art, April 4-May 18, 1958 New York, New York, The Breerly School, Parents Lounge, Art in the United States, Part 2, 19th and Early 20th Century, 1964 Washington, DC, National Gallery of Art, and elsewhere, John Sloan 1871-1951: His Life and Paintings, September 18- October 31, 1971, no. 90 Fort Worth, Texas, Amon Carter Museum of Art, and Los Angeles, California, Frederick S. Wight Art Gallery, University of California, The American Personality, The ArtistIllustrator of Life in the United States, 1860-1930, July 8-August 22, 1976 Kansas City, Missouri, The NelsonAtkins Museum of Art, Art of Paper: Highlights from the American Collection, February-December, 2009

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Literature: Harper’s Weekly, December 6, 1913, p. 25, illus.

“EXHIBITION OF AMERICAN HUMOR; “Salon of Humorists” at Folsom Galleries Has Plenty of Fun and Art and Is Distinctively American.

Work of Well-Known Artists Represented Shows Moderation and Precision of Statement,” New York Times, April 18, 1915 Folsom Galleries, Initial Exhibition of the American Salon of Humorists, exhibition catalogue, New York, 1915 J. Sloan, Gist of Art, New York, 1939, p. 238 (incorrectly dated 1914), illus.

Addison Gallery of American Art, John Sloan Retrospective Exhibition, exhibition catalogue, Andover, Massachusetts, 1938, no. 14, pp. 80, 82, illus.

L. Goodrich, John Sloan 1871-1951, exhibition catalogue, New York, 1952, no. 119, p. 84 D. Scott, and E. John Bullard, John Sloan, 1871-1951: His Life and Paintings, exhibition catalogue, Washington, DC, 1971, no. 90, pp. 131, 215, illus.

Amon Carter Museum of Art, The American Personality, The ArtistIllustrator of Life in the United States, 1860-1930, exhibition catalogue, Fort Worth, 1976, no. 234, pp. 110, 137, illus.

H. Adams, American Drawings and Watercolors from the Kansas City Region, exhibition catalogue, Kansas City, 1992, pp. 142-144, illus. $60,000-80,000

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john french sloan Playing to Empty Seats A leader of the Ashcan School and the Eight, John Sloan is best remembered for his urban scenes that chronicle the exuberant, gritty life of New York City.

The artist started his career as a commercial illustrator in Philadelphia, where he worked with William Glackens, Everett Shinn, and Robert Henri. In 1904, encouraged

by Henri to further pursue his painting career, Sloan and his wife Dolly moved to New York City so he could be at the site of the nation’s flourishing art scene. The vignettes the artist saw during long walks through his adopted hometown inspired much of his best work.

To supplement his painting income, Sloan continued to work as an illustrator, with contributions to magazines such as The Masses and Century. The present work was published in the December 6, 1913 issue of Harper’s Weekly. It proved popular and was exhibited extensively, including at Folsom Galleries, New York, in a 1915 show titled Initial Exhibition of the American Salon of Humorists. Sloan’s works in the exhibition are praised in a New York Times review, where the writer declares: “[the artist’s] depictions of the picturesque life of the poor, his avoidance of the insignificant and his power of grasping the salient features of a situation and placing them directly and effectively before the observer, show him a personality to be reckoned with in any estimate of modern American art, humorous or other” (New York Times, April 18, 1915).

In Playing to Empty Seats, Sloan has wittily encapsulated a fleeting scene of life in the streets and tenements of New York. Perhaps practicing for a future performance, a trio of musicians play in a littered alley, two cats their only audience. Above them wave lines of drying undergarments, the empty “seats” to which the title humorously refers. The laundry, alley fences, and surrounding buildings enclose the performers’ space and serve to emphasize the tumultuous, almost claustrophobic, cityscape. It is through this keen use of details that the artist successfully captures the spontaneous, joyous, and sometimes nonsensical, spirit of the city.

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Everett Shinn

(American, 1876-1953) Colored Banjo Player, 1940 gouache, watercolor, and gum arabic on paperboard signed Everett Shinn and dated (lower left); titled (verso) 11 3/8 x 7 7/8 inches.

Property from the Richard and Carol Levin Foundation, Kansas City, Missouri Provenance: ACA Galleries, New York Acquired directly from the above by the present owner, 1980 $15,000-25,000

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robert henri Bridget Lavelle 17

Robert Henri

(American, 1865-1929) Bridget Lavelle, 1926 oil on canvas signed Robert Henri (verso) 28 x 20 inches.

Property from the Richard and Carol Levin Foundation, Kansas City, Missouri Provenance: Estate of the artist Chapellier Gallery, New York Acquired directly from the above by the present owner, 1965 $400,000-600,000

A chief proponent of the Ashcan School, Robert Henri’s true artistic spirit is captured in his portraits, such as Bridget Lavelle. The artist’s portraits are principally concerned with capturing the essence of his sitters, who he referred to as “his people.” Henri’s search for authentic subjects led him and his wife, Marjorie Organ, to visit Achill Island, a remote location off the west coast of Ireland. They first visited in 1913 and again for four extended visits beginning in 1924, until Henri’s death in 1929. During their time on Achill, the couple rented and then purchased an estate, Corrymore. It was here that Henri created what is considered his most popular and widely recognized body of work, with his dynamic depictions of the children from the island.

The present work is recorded in the artist’s notebook as being painted in 1926 at Corrymore. Bridget was clearly one of the artist’s favorite subjects, as he painted her again at least three times in 1928, including Dark Bridget Lavelle (Albert-Kemper Museum of Art, St. Joseph, Missouri), and two titled Blonde Bridget Lavelle (one in the Collection of John and Susan Klein; the other in the collection of the Milwaukee Art Museum). The Lavelles were one of the oldest clans on the island and believed to be of French descent.

In addition to Bridget, Henri portrayed several other members of the Lavelle family.

In Bridget Lavelle, Henri brilliantly captures his young sitter’s confident pose and unwavering gaze. Her assured presence is amplified through a sophisticated use of striking color. The artist often limited his color palette in the Irish portraits to a triad of essential colors in order to reduce distractions and create a stronger visual impact. Here, Bridget is posed against a dark red background, with the pink and red of her coat and shirt heightening the vividness of her full lips and ruddy cheeks. The blue trim of the coat she wears provides a dramatic contrast and emphasize the clear hazel hue of her eyes. Animated and broad strokes, a feature of Henri’s later brushwork, further enliven the composition and sitter. This work truly highlights Henri’s ability to paint the vitality and unique character of his sitters. It is a captivating example of the portraits for which he is known.

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Arthur B. Davies

(American, 1863-1928) Coast Scene with Ships oil on canvas estate stamped (stretcher) 6 x 15 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: Chapellier Gallery, New York Acquired directly from the above by the present owner, 1965 $1,000-2,000

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Reginald Marsh

(American, 1898-1954) The Aquitania, 1938 watercolor and pencil on paper signed Reginald Marsh, titled and dated (lower right) 13 7/8 x 19 7/8 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: Private Collection, New Jersey Hirschl & Adler Galleries, New York Acquired directly from the above by the present owner, 1991 $4,000-6,000

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charles burchfield Basswood Tree in Winter 20

Charles Burchfield

(American, 1893-1967) Basswood Tree in Winter, 1948 watercolor and gouache on paper laid to board monogrammed and dated (lower left); titled and dated (verso) 32 x 26 1/2 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: Rehn Gallery, New York Joseph and Bernice Tanenbaum, New York ACA Galleries, New York Acquired directly from the above by the present owner, 1976 Literature: J.S. Trovato, Charles Burchfield: Catalogue of Paintings in Public and Private Collections, Utica, New York, 1970, no. 226, p. 1029, illus.

Exhibited: Duluth, Minnesota, University of Minnesota, Tweed Gallery, An Exhibition Commemorating the Dedication of Tweed Gallery, October 19-November 23, 1958 New York, New York, American Academy of Arts and Letters, Charles Burchfield Memorial Exhibition, Paintings and Drawings, March 1-April 21, 1968 Utica, New York, Munson-WilliamsProctor Institute Museum of Art, The Nature of Charles Burchfield, A Memorial Exhibition, April 9-May 31, 1970 $80,000-120,000

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One of the most original American watercolorists of the 20th century, Charles Burchfield reveled in the sounds, sights, and sensations of nature. The transition of the seasons, the bloom and decay of vegetation, and the effects of weather upon the landscape inspired the artist throughout his career.

Burchfield spent his working life immersed in his own local environment in upstate New York, constantly seeking to express his particular vision of the universal forces. In his search, the artist embraced the fantastic and the real to create exuberant compositions that he brought alive through his brushwork and highly personal style.

Three major periods of Burchfield’s career are generally recognized: an early period dating from roughly 1915 to 1921 when he treated landscape in a realistic, decorative, or fantastic manner; a middle period dating from the early 1920s to the 1940s when he painted more realistically; and a late period when he coalesced the two modes to create a distinctly mystical depiction of the world around him. Although his artistic approach transformed over the years, a deep personal symbolism is evident throughout, as Burchfield explored through his paintings both the physical and psychological terrains.

Executed on a full sheet, Basswood Tree in Winter dates from 1948, when Burchfield painted the landscape around him in a more truthful style.

Although the watercolor depicts a seemingly quiet moment in the heart of winter, the muted palette is punctuated by the vibrant green and yellow of the evergreen trees to the right. These splashes of color are coupled with the bold black tree, whose branches overarch and frame the left of the composition.

These elements combine to create a strong focal point that then recedes into the pale grays, blues, and whites of winter.

Burchfield kept meticulous journals, and on the day he painted this work, he wrote: “The weather milder, loose misty clouds, a strong wind from S.W. When at noon the temperature went up to 38° I decided to paint outdoors.

I set up my easel at the N.E. corner of the studio, with an unaccustomed view of our house & Cottrell’s, with the beloved basswood tree at the focal point” (Charles E. Burchfield, Journals, Vol. 49, Sat. Feb. 7, 1948, p. 21). Trees held a symbolic importance for the artist, who often painted them to suggest life and regeneration, death and decay. In Basswood Tree in Winter, he contrasts the constant, lively green of pines against the bare branches of those at rest for the winter. The vitality of the evergreens imbues the snowy scene with a subtle symbolism that promises of regeneration and life in the spring to come.

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21

Aaron Bohrod

(American, 1907-1992) The Golden Pear oil on panel signed Aaron Bohrod (lower right) 15 1/4 x 11 1/4 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: The Milch Galleries, New York Acquired directly from the above by the present owner, 1963 $3,000-5,000

21

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Aaron Bohrod

(American, 1907-1992) Poussin, Boot oil on gesso panel signed Aaron Bohrod (upper left) 10 x 13 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: The Milch Galleries, New York Acquired directly from the above by the present owner, 1966 $3,000-5,000

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Mo誰se Kisling

(Polish, 1891-1953) Still Life with Roses in a Vase oil on canvas signed Kisling (lower left) 9 1/2 x 6 3/8 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: Galerie Zak, Paris Mrs. Lewis Hoffman, Kansas City, Missouri, acquired from the above, 1959 $20,000-40,000

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William James Glackens

(American, 1870-1938) Flowers in Hexagonal Ironstone Dish oil on canvasboard titled and numbered 800B (verso) 11 1/4 x 14 3/8 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: Kraushaar Galleries, New York Dr. and Mrs. Harold Rifkin, New York ACA Galleries, New York Acquired directly from the above by the present owner, 1968 $20,000-40,000

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25

Ernest Lawson

(American, 1873-1939) Reflections oil on canvas signed E. Lawson (lower left) 20 x 25 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: The Milch Galleries, New York Chapellier Gallery, New York Acquired directly from the above by the present owner, 1964 Exhibited: Kansas City, Missouri, William Rockhill Nelson Gallery of Art, Atkins Museum of Fine Art, January 22-February 28, 1965 $40,000-60,000

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26

Childe Hassam

(American, 1859-1935) Old Barn and the Birches, 1927 oil on panel signed Childe Hassam and dated (lower left); monogrammed and dated (verso) 7 x 10 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: Estate of the artist American Academy of Arts and Letters, New York The Milch Galleries, New York Acquired directly from the above by the present owner, 1962 This painting will be included in Stuart P. Feld’s and Kathleen M. Burnside’s forthcoming catalogue raisonné of the artist’s works. $60,000-80,000

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Eugene Edward Speicher

(American, 1883-1962) Flowers, 1944 oil on canvas signed Eugene Speicher (lower left); inscribed and dated (lower right) 13 1/2 x 10 1/2 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: The Milch Galleries, New York Acquired directly from the above by the present owner, 1963 $1,000-2,000 27

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Jack Levine

(American, 1915-2010) The Waiting Lady, 1972 oil and pastel on paper signed J. Levine (lower left) 39 1/4 x 25 1/4 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: Kennedy Galleries Inc., New York Acquired directly from the above by the present owner, 1981 Exhibited: Ontario, Canada, Rodman Hall Arts Center, Jack Levine, April 7-30, 1978 Glen Falls, New York, The Hyde Collection, Jack Levine, July 2-September 3, 1978 New York, New York, Kennedy Galleries, Jack Levine Recent Work, 1975, no. 5 $2,000-4,000

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Harry McCormick

(American, b. 1942) Butcher’s Break oil on canvas signed McCormick (lower right) 13 x 20 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: ACA Galleries, New York Acquired directly from the above by the present owner, 1973 $400-600 30

Ben Johnson

(American, 20th century) Three Green Apples, 1963 oil on canvas signed Ben Johnson and dated (lower right) 11 1/2 x 13 1/2 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri 30

Provenance: Gallery 63 Inc., New York $200-400

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Jules Pascin

(French, 1885-1930) Nude ink on paper signed Pascin (lower right) 12 1/4 x 12 1/4 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri $1,000-2,000 32

Harvey Gordon

(20th century) Interior with Figure, 1970 oil on masonite signed Harvey Gordon, titled and dated (verso) 34 1/2 x 22 1/2 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri $150-250

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David Burluik

(Ukrainian, 1882-1967) Still Life - Flowers on Shore oil on canvas laid to masonite signed Burluik (lower right) 17 3/8 x 12 3/4 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: Lawrence Gallery, Kansas City, Missouri Acquired directly from the above by the present owner, 1964 $5,000-7,000

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Luigi Lucioni

(American/Italian, 1900-1988) Blue and White Variations, 1965 oil on canvas signed Luigi Lucioni and dated (lower right) 20 x 17 1/4 inches.

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri Provenance: The Milch Galleries, New York Acquired directly from the above by the present owner, 1965 $10,000-15,000

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I N T R O D U C I N G

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W W W .B ID S Q U A R E .C O M

UPCOM I NG AUC TI ON SC HEDU LE

Naples Spring Auction April 9 | online only

property from the collection of carol h. and richard m. levin may 20 | chicago

Fine Jewelry April 19–20 | chicago

post war and contemporary art may 21 | chicago deadline march 20

Fine timepieces April 20 | chicago

fine prints may 21 | chicago deadline march 20

luxury accessories and vintage fashion April 21–22 | chicago

arts of the american west june 4 | denver deadline april 17

Fine Furniture and Decorative Arts April 29 | chicago

property from the ebony fashion fair collection june 10 | chicago

fine silver and objects of vertu april 30 | chicago

marketplace june 17 | online only

20th century decorative arts may 1 | chicago

property from the high museum of art june 23 | chicago

St. Louis Spring Auction may 6 | st. louis

fine art marketplace june 24 | online only

Fine Books and Manuscripts may 7 | chicago

Fine Furniture and Decorative Arts july 13–14 | chicago deadline may 14

milwaukee spring auction may 15 | milwaukee

asian marketplace july 15 | chicago

american and european art may 20 | chicago deadline march 20

classic glass july 17 | online only deadline may 18

Artist Index ARTIST NAME Benton, Thomas Hart Bohrod, Aaron Burchfield, Charles Burliuk, David Curry, John Steuart Davies, Arthur B. Glackens, William James Gordon, Harvey Gropper, William Hassam, Childe Henri, Robert Johnson, Ben Kisling, Moïse Lawson, Ernest Levine, Jack Lucioni, Luigi Marsh, Reginald McCormick, Harry Pascin, Jules Pène du Bois, Guy Shinn, Everett Sloan, John French Soyer, Moses Soyer, Raphael Speicher, Eugene Edward

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LESLIE HINDMAN AUCTIONEERS

LOT

3-7 1, 21, 22 20 33 8 18 24 32 2 26 17 30 23 25 28 34 12, 19 29 31 13 15 14 9, 10 11 27

Glossary of Terms ADRIAEN JANSZ VAN OSTADE This work, in our best opinion, is by the named artist.

ATTRIBUTED TO ADRIAEN JANSZ VAN OSTADE To our best judgment, this work is likely to be by the artist, but with less certainty as in the aforementioned category.

STUDIO OF ADRIAEN JANSZ VAN OSTADE To our best judgment, this unsigned work may or may not have been created under the direction of the artist.

CIRCLE OF ADRIAEN JANSZ VAN OSTADE To our best judgment, a work by an unknown but distinctive hand linked or associated with the artist but not definitively his pupil.

STYLE OF . . . FOLLOWER OF ADRIAEN JANSZ VAN OSTADE To our best judgment, a work by a painter emulating the artist’s style, contemporary or nearly contemporary to the named artist.

MANNER OF ADRIAEN JANSZ VAN OSTADE To our best judgment, a work in the style of the artist and of a later period.

AFTER ADRIAEN JANSZ VAN OSTADE To our best judgment, a copy of a known work of the artist.

The term signed and/or dated and/or inscribed means that, in our opinion, a signature and/or date and/or inscription are from the hand of the artist.

The term bears a signature and/or a date and/or an inscription means that, in our opinion, a signature and/or date and/or inscription have been added by another hand.

Dimensions are given height before width.

lh

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Auction Inquiries FINE ART DEPARTMENT

Zack Wirsum Director zachary@lesliehindman.com

Julianna Tancredi Specialist juliannatancredi@lesliehindman.com

OFFICE OF THE PRESIDENT Leslie S. Hindman President and CEO 312.280.1212 Natascha Williams Executive Assistant nataschawilliams@lesliehindman.com 312.600.6065

Reed Landin Account Executive reedlandin@lesliehindman.com 312.334.4216

Julianna Tancredi Specialist juliannatancredi@lesliehindman.com 312.600.6066 Julia Leveille Account Executive julialeveille@lesliehindman.com 312.334.4229

Julia Leveille Account Executive julialeveille@lesliehindman.com 312.334.4229

Nathan Brady nathanbrady@lesliehindman.com 312.600.6064 Asian Works of Art Benjamin Fisher Director benjaminfisher@lesliehindman.com 312.447.3281

Reed Landin Account Executive reedlandin@lesliehindman.com 312.334.4216

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Patricia Courson Account Executive patriciacourson@lesliehindman.com 312.447.3264

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Fine Furniture and Decorative Arts

Fine Jewelry and Timepieces

Mike Intihar Senior Specialist mike@lesliehindman.com

Alexander Eblen, G.G. Director alexandereblen@lesliehindman.com

Corbin Horn Director corbinhorn@lesliehindman.com

Anne Farr Specialist annefarr@lesliehindman.com

Accounting

Benjamin Fisher Specialist benjaminfisher@lesliehindman.com

Christopher Reimann Director of Finance christopherreimann@lesliehindman.com 312.447.3284

Jamie Henderson Account Executive/Cataloguer jamiehenderson@lesliehindman.com 312.334.4226

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ESTATES, APPRAISALS AND BUSINESS DEVELOPMENT Bonnie O’Donoghue Director of Business Development bonnie@lesliehindman.com 312.447.3293 Colleen Gleason Director of Estates and Appraisals colleengleason@lesliehindman.com 312.447.3283 Katelyn Finn Account Executive katelynfinn@lesliehindman.com 312.447.3297

ADMINISTRATION

Client Services Patty Dart Manager, Human Resources and Office Administration pattydart@lesliehindman.com 312.334.4208 Emily Domiano Auction Coordinator emilydomiano@lesliehindman.com 312.334.4207

consignment department

20th Century Decorative Arts Mike Intihar Senior Specialist mike@lesliehindman.com Fine Books and Manuscripts Kathryn Coldiron Director kathryncoldiron@lesliehindman.com 312.334.4231 Fine Silver and Objects of Vertu

Mary Kohnke Director of Consignments marykohnke@lesliehindman.com 312.334.4236

Jill Waddell Director jillwaddell@lesliehindman.com

Fine Art

Marketplace

Zack Wirsum Director zachary@lesliehindman.com

Gia Spezia Director gia@lesliehindman.com 312.334.4219

Tom Eitan Tashey, G.G Junior Specialist thomastashey@lesliehindman.com 312.334.4232 Allison Osborn Account Executive allisonosborn@lesliehindman.com 312.334.4213 Hazel Kent Account Executive hazelkent@lesliehindman.com 312.334.4223 Luxury Accessories and Vintage Fashion Yanet Ramirez Director yanetramirez@lesliehindman.com 312.447.3288

REGIONAL AUCTION HOUSES Jim Sharp Director jim@lesliehindman.com 312.334.4203 Caitlin Cruickshank Regional Consignment Manager caitlin@lesliehindman.com 312.447.3285

Patricia Courson Account Executive patriciacourson@lesliehindman.com 312.447.3264

Alexandra Winters Account Executive alexandrawinters@lesliehindman.com 312.334.4205 Sarah K. Tye Account Executive Regional Operations sarahtye@lesliehindman.com 312.334.4204

Naples 1300 Third Street South, Suite 201 Naples, Florida 34102 239.643.4448

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REGIONAL OFFICES Palm Beach 324 Royal Palm Way Palm Beach, Florida 33480 561.833.8053

Regional Representatives Rockford, Illinois Janet Moore 815.399.3983 Mid Atlantic Roger Schrenk and Chris Fultz 703.217.3811 Ohio Macy Nyhart Hansen 513.560.3200

International Representative Tina Fisher Grow 561.315.9100

Guide for Prospective Sellers Evaluation of Property If you have property you wish to sell, please call our Consignment Department at 312.280.1212 to arrange for a consultation. At that time, you may make an appointment to bring your property or photographs, along with any other pertinent information, to Leslie Hindman Auctioneers, Inc. and we will be happy to provide you with complimentary estimates and advice. If you have a large collection, an appointment may be made to evaluate the property on-site. Fees for on-site visits may vary.

Standard Commission Rates Our standard rate of commission is equal to ten percent (10%) of the hammer price on each lot sold for $5,001 or more; fifteen percent (15%) of the hammer price on each lot sold for $2,001 or more but less than $5,001; and twenty-five percent (25%) of the hammer price on each lot sold for $2000 and less with a minimum commission of $25 per lot sold. If your property fails to reach the reserve price agreed upon between you and Leslie Hindman Auctioneers, Inc., you may be obligated to pay a reduced commission rate of five percent (5%) of the reserve price.

Shipping Arrangements Leslie Hindman Auctioneers, Inc. can advise you as to how to have your property delivered to our galleries. Packing, shipping and insurance are payable by the seller. In certain instances, packing and shipping costs may be paid by Leslie Hindman Auctioneers, Inc. and deducted from the proceeds of the sale. We may recommend packers and shippers, but we are not responsible for their acts or omissions.

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

Guide for Prospective Buyers Conditions of Sale Leslie Hindman Auctioneers, Inc. encourages all prospective buyers to read the Conditions of Sale printed in this catalogue.

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

Estimates Leslie Hindman Auctioneers, Inc. provides catalogue descriptions and pre-auction estimates for each lot included in the sale. These estimates are a guide for prospective bidders. They are not definitive. All pre-sale estimates are subject to revision.

Condition Reports We are happy to provide a condition report for lots with a low estimate of $300 and above. Nevertheless, intending buyers are reminded that condition reports are statements of our opinion only, and that each lot is sold “AS IS,” per our Conditions of Sale, as outlined in the back of this catalogue. All lots should be viewed personally by prospective buyers or their agents to evaluate the condition of the property offered for sale due to the highly subjective nature of condition reports.

Bidding at Auction The highest bidder acknowledged by the auctioneer will be the purchaser.

In addition to the hammer price, the buyer agrees to pay Leslie Hindman Auctioneers, Inc. a buyer’s premium as well as any applicable taxes.

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

The normal bidding increments are:

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

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

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

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

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

Online Bidding Leslie Hindman Auctioneers, Inc. allows absentee and live bidding through our website at www.lesliehindman.com as well as absentee and live bidding through third party online bidding providers which vary by sale. For more information regarding online bidding please visit our website at www.lesliehindman.com.

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

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

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

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

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

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

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

Parking: Leslie Hindman Auctioneers, Inc. has a private parking lot located on Ada Street, diagonally across the street from our entrance.

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Conditions of Sale LESLIE HINDMAN AUCTIONEERS, INC. AS AGENT The lots listed in this catalogue will be offered by Leslie Hindman Auctioneers, Inc. as owner or as agent for consignor(s) subject to the following terms and conditions. By bidding at auction you agree to be bound by these Conditions of Sale.

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

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

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

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

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

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

Telephone Bids On lots with a low estimate of $300 and above and if a prospective buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in the bidding by telephone and we do not accept liability for failure to do so or for errors and omissions in connection with telephone bidding. These telephone bids may be recorded at the discretion of Leslie Hindman Auctioneers.

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Online Bids We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the Internet or software malfunctions related to the execution of online bids.

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

In the absence of a bid at that level, the auctioneer may proceed backwards at his or her discretion until a bid is recognized, and then continue up from that amount.

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

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

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

AFTER THE SALE Buyer’s Premium In addition to the hammer price, the buyer agrees to pay Leslie Hindman Auctioneers, Inc. a buyer’s premium and the applicable sales tax added to the final total. The buyer’s premium for all purchases except via live online bidding is twenty-five (25%) of the hammer price up to and including $50,000; twenty percent (20%) of any amount in excess of $50,000 up to and including $1,000,000; and twelve percent (12%) of any amount in excess of $1,000,000.

The buyer’s premium for purchases made via live online bidding is twenty-six (26%) of the hammer price up to and including $50,000; twenty-one percent (21%) of any amount in excess of $50,000 up to and including $1,000,000; and thirteen percent (13%) of any amount in excess of $1,000,000.

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

The purchaser agrees to pay Leslie Hindman Auctioneers, Inc. a handling charge of $50 for any check dishonored by the drawee.

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

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

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

Non Payment If we do not receive payment in full, in good cleared funds, within seven (7) business days following the sale, we are entitled in our absolute discretion to exercise one or more of the following measures, in addition to any additional actions available to us by law: a.) to impose a late charge of one and a half percent (1.5%) per thirty (30) days of the total purchase price b.) to hold the defaulting buyer liable for the total amount due and to begin legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law

LIABILITY Condition Reports Leslie Hindman Auctioneers, Inc. is not responsible for the correctness of any statement of any kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lot. Neither the seller, ourselves, our officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, completeness, authorship, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind whatsoever is excluded by this paragraph.

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

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

Discretion Any and all of the conditions may be waived or modified in the sole discretion of Leslie Hindman Auctioneers, Inc.

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d.) to resell the property publicly or privately with such terms as we find appropriate, to resell the property at public auction without reserve, and with the purchaser liable for any deficiency, cost, including handling charges, the expenses of both sales, our commission on both sales at our regular rate, all other charges due hereunder and incidental damages. In addition, a defaulting purchaser will be deemed to have granted us a security interest in, and we may retain as collateral security for such purchaser’s obligations to us, any property in our possession owned by such purchaser. At our option, payment will not be deemed to have been made in full until we have collected funds represented by checks, or in the case of bank or cashier’s checks, we have confirmed their authenticity. e.) to offset against any amount owed f.) to not allow any bids at any upcoming auction by or on behalf of the buyer g.) to take other action as we find necessary or appropriate

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

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c.) to cancel the sale

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BID FORM

LESLIE HINDMAN AUCTIONEERS CHICAGO | DENVER | MILWAUKEE | NAPLES | PALM BEACH | ST. LOUIS

fx 312. 28 0.1 21 1 | bi d@ l e s lie hin dma n .co m Online registration/bid requests must be received at least 24 hours before the auction begins. Leslie Hindman Auctioneers, Inc. will confirm all bids received by fax or by return email. Phone bids will not be accepted on lots with a low estimate below $300. Leslie Hindman Auctioneers, Inc. allows absentee and telephone bidding registration through our website at www.lesliehindman.com.

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Name Sale Number/Name

Business Name

Billing Address

City State Country/Zip

Contact Name

Primary Phone Secondary Phone

Email Fax

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

Signature Date

For Leslie Hindman AUCTIONEERS, INC.

Date

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

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

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

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

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

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

A per lot buyer’s premium is added to the final hammer price as per the following: $0 - $50,000 ............................................................. 25% $50,001 - $1,000,000 ............................................. 20% $1,000,001 + ................................................................. 12% Leslie Hindman Auctioneers, Inc. is not responsible for failure or other inadvertent errors relating to the execution of your bids.

First time bidders please provide proof of identification: Passport / Driver’s License / National Identity Card Lot Number

LOT DescriPtion

Absentee Bid

PHONE BID

Back-up Bid

US Dollar Limit

PLEASE CHECK

FOR TELEPHONE BIDDERS ONLY

EXCLUDES BUYER’S PREMIUM

How did you hear about Leslie Hindman Auctioneers?

BID LIVE ONLINE

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C H I C A G O , I L L I NO I S

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LESLIE HINDMAN AUCTIONEERS

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L E S L I E H I N D M A N AU C T I O N E E R S May 20 , 2015 NO. 373

1338 West Lake Street Chicago, Illinois 60607 l ph 312.280.1212 l fx 312.280.1211 l lesliehindman.com

Property from the Collection of Carol H. and Richard M. Levin, Kansas City, Missouri

no.373