Sale 408 | American and European Art by Hindman

L E S L I E H I N D M A N AU C T I O N E E R S

L E S L I E H I N D M A N AU C T I O N E E R S december 14, 2015 NO.408

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

american and european art

NO.408

american and european art

Monday 14 December 2015

PREVIEW thursday 10 december | 10am - 5pm friday 11 december | 10am - 5pm Saturday 12 december | 10am - 3pm sunday 13 december | 12pm – 4pm a u c t ion monday 14 december I 12pM european art | Lots 1-89 american art | lots 90–167 P R O P E R TY P I C K U P H O U R S MONDAY – FRIDAY | 9:00AM – 4:30PM All property must be picked up within seven business days per our Conditions of Sale. Lots marked with an asterisk (*) are tax exempt as permitted by law.

BID LIVE ONLINE

www.lesliehindman.com © Leslie Hindman Auctioneers, Inc. 2015

Cover: Lot 152 Thomas Hart Benton, Burning of Chicago

CHICAGO, ILLINOIS ILLINOIS AUCTION FIRM LICENSE NUMBER 444-000295

P R O P E R TY F R O M T H E E S TAT E S O F Patricia Battram, St. Louis, Missouri The Anne P. Foster Trust, Kansas City, Missouri John M. Harney, St. Louis, Missouri Mary Anne Kirchschlager, Chicago, Ilinois Ann Matturro, Park Ridge, Illinois Noble M. Melencamp, Colorado Springs, Colorado The Jeanne M. Morley Trust, Ann Arbor, Michigan James D. Murphy, Chicago, Illinois John F. Norwood, St. Louis, Missouri Thelma Warshell, Highland Park, Illinois Shirle N. Westwater, Columbus, Ohio

P R O P E R TY F R O M T H E C O L L E C T I O N S O F Anne S. Dorsey, Louisville, Kentucky Jennifer Field, Kansas City, Missouri Tyler Henderson, Goodland, Kansas Christopher Kinney, Bloomington, Illinois Walter and Nancy Lytwyn, Naperville, Illinois David Maren, Westchester, Illinois Louis Meiners, Naples, Florida Virginia Miller, Fairway, Kansas Chase Pivarnik, Valparaiso, Indiana Sandra Burch Powell, Champaign, Illinois Diane Ruhl, Kalamazoo, Michigan A Nancy Vincent, Chicago, Illinois James Wenneker, Lexington, Kentucky

P R O P E R TY F R O M T H E ins t i t u t ion S O F Loyola University Chicago to benefit the Loyola University Museum of Art, Chicago, Illinois The Union League Club of Chicago, Sold to Benefit its Acquisition Fund

Opposite: Lot 53 Jean BĂŠraud, Le Pont de Bercy (detail)

Contents european art | lots 1 – 89 american art | lots 90 – 167

Opposite: Lot 96 Joseph Rusling Meeker, Near Lake Maurepas, 1877 (detail)

6 56

Artist Index

104

Glossary of Terms

105

AUCTION INQUIRIES

108

CONDITIONS OF SALE

110

TELEPHONE / ABSENTEE BID FORM

112

European Art Lots 1 â&#x20AC;&#x201C; 89

Opposite: Lot 78 Bernard Buffet, La Tour Eiffel, 1955

School of Filippo (Filippino) Lippi

(Italian, 1457-1504) Crucifixtion oil on panel 18 3/4 x 14 1/2 inches. $1,000-2,000 2

Cornelis Pietersz. Bega

(Dutch, c. 1631-1664) Six Peasants in an Interior oil on panel 11 1/4 x 12 3/8 inches. Provenance: A.S. Drey Collection, Munich (his sale, Munich, 12 October 1909, lot 3) Private collection, The Hague W.J.A. Arutz collection, Nijmegen, by 1949 Private collection, Mannheim Private collection, Wassenaar, by 1959 Private collection, New York, by 1979 With Colnaghi, New York With Jack Kilgore, New York Exhibited: Cleveland Museum of Art $7,000-9,000 2A

Paul Delaroche

(French, 1797-1856) Deux ĂŠtudes de tĂŞtes de moines camaldules oil on panel signed P. Delaroche (lower center) 7 3/4 x 13 inches. $2,000-4,000

american and european art

Follower of François Boucher (French, 1703-1770) Jupiter and Callisto oil on paper laid to canvas 15 5/8 x 8 1/2 inches.

Provenance: Anonymous sale, London, Sotheby’s, 1 November 1978, lot 35 Literature: A. Ananoff & D. Wildenstein, François Boucher, 1976, Paris & Lausanne, vol. II, pp. 270-71, cat. no. 639/1, fig. 1680. $7,000-9,000 3

John Vanderbank the Younger

After Hyacinthe Rigaud

(British, 1694-1739) Portrait of a Lady, 1735 oil on canvas signed Jn Vanderbank and dated (lower right) 50 x 40 inches. Property from the Collection of Tyler Henderson, Goodland, Kansas $4,000-6,000

american and european art

(French, 1659-1743) Portrait of a Woman oil on canvas 33 3/4 x 27 1/2 inches. $500-700

Attributed to John Hoppner

Jean Baptiste Jacques Augustin

(British, 1758-1810) Portrait of Princess Amelia oil on canvas 29 1/4 x 27 inches. $3,000-5,000

(French, 1759-1832) Bust Portrait of Monsieur Perignon, 1796 black chalk 14 1/2 x 12 inches. $1,500-2,500

After Emile Antoine Bourdelle

(French, 1861-1929) Masque de Beethoven bronze Height: 29 inches. $3,000-5,000

american and european art

William Crawford

(Scottish, 1825-1869) The Highland Chief oil on canvas 95 x 59 inches. Property of the Union League Club of Chicago, Sold to Benefit its Acquisition Fund $2,000-4,000

David Roberts

(Scottish, 1796-1864) Abbeville Cathedral, 1840 oil on canvas signed David Roberts and dated (lower left) 21 1/2 x 27 1/2 inches. Property from the Jeanne M. Morley Trust, Ann Arbor, Michigan $7,000-9,000 10

Eloise Harriet Stannerd

(British, 1828-1915) Still Life with Fruit, Birdâ&#x20AC;&#x2122;s Nest and Butterflies oil on canvas 20 x 24 inches. $2,000-4,000

american and european art

Heva Coomans

(Belgian, fl. 1883-1890) Woman at the Water Well oil on board signed H. Coomans (lower left) 10 7/8 x 7 1/2 inches. $2,000-4,000

(Belgian, fl. 1883-1890) Penelope Awaiting Odysseus oil on canvas signed Heva Coomans (lower left) 12 1/2 x 6 inches. $3,000-5,000

Heva Coomans

(Belgian, fl. 1883-1890) Woman in Supplication oil on board signed H. Coomans (lower left) 11 x 8 1/2 inches. $3,000-5,000

14A

14*

14A

Charles Théodore (Frère Bey) Frère

Alexandre Cabanel

Alexandre-Gabriel Decamps

Fedor Il’ich Baikov

(French, 1814-1888) Desert Camp oil on panel signed Th. Frere (lower left) 5 x 12 1/4 inches. Property from the Collection of Bradley G. Wilde, Dallas, Texas $5,000-7,000

(French, 1823-1889) Head of Saint Louis for the Pantheon, c. 1873 black chalk on tan wove paper signed Alex Cabanel (lower right) 16 1/4 x 12 7/8 inches. Provenance: Shepherd Gallery, New York Exhibited: New York, Shepherd Gallery, French and Other European Drawings, Paintings and Sculpture of the Nineteenth Century, Winter Exhibition, 1981, no. 3, illus $2,000-4,000

american and european art

(French, 1803-1860) Arab Seated in a Doorway black chalk initialed (lower right) 11 7/8 x 8 7/8 inches. $800-1,200

(Russian, 1825-1879) Military Encampment, 1847 oil on canvas signed F. Baikov and dated in Cyrillic (lower left) 9 1/8 x 11 inches. $1,000-2,000

17*

Paul Louis Narcisse Grolleron

(French, 1848-1901) Battle Scene,1882 oil on canvas signed P. Grolleron (lower right) 29 x 23 1/2 inches. Property of the Union League Club of Chicago, Sold to Benefit its Acquisition Fund $8,000-12,000

18*

Attributed to Thomas Whitcombe

(British, c. 1760-c. 1824) The Wreck oil on canvas 30 3/8 x 48 inches. Property from the Estate of Mary Anne Kirchschlager, Chicago, Illinois $3,000-5,000

american and european art

Montague Dawson

(British, 1890-1973) Searching the Seas - H.M.S. Victory oil on canvas signed Montague Dawson (lower left) 39 1/4 x 65 1/2 inches. Property from a Corporate Collection, Chicago, Illinois $50,000-70,000

20*

James Clarke Waite

(British, 1832-1921) Grandfatherâ&#x20AC;&#x2122;s Departure, 1871 oil on canvas signed J.C. Waite and dated (lower left) 31 x 39 1/2 inches. Property from the Estate of Patricia Battram, St. Louis, Missouri $4,000-6,000

american and european art

21*

Charles Edouard Delort

Alexander Johnston

(French, 1841-1895) The Letter oil on canvas signed C. Delort (lower left) 36 x 28 1/2 inches. Property from the Estate of Ann Matturro, Park Ridge, Illinois $3,000-5,000

(British, 1815-1891) A Stolen Glance oil on canvas signed A. Johnston (lower right) 30 x 27 inches. $4,000-6,000

JosĂŠ JimĂŠnez y Aranda

(Spanish, 1837-1903) The Violinist, 1837 oil on panel signed Aranda, dated and inscribed (lower right) 12 3/4 x 9 1/2 inches. $8,000-12,000 24

Eduardo Vitali

(Italian, 19th century) A Peasant Woman and The Musician (a pair of works) watercolor each signed E. Vitali (lower right) Each: 17 1/2 x 10 1/4 inches. $600-800

american and european art

25*

Antonio Zoppi

Eugenio Zampighi

(Italian, 1860-1926) Nonna y la Fisarmonica oil on canvas signed A. Zoppi and inscribed (upper left) 19 x 23 1/2 inches. Property from the Collection of James Wenneker, Lexington, Kentucky $2,000-4,000

(Italian, 1859-1944) Couple Knitting oil on canvas signed E. Zampighi (lower right) 23 x 17 1/2 inches. $8,000-12,000

Attributed to Jozef IsraĂŤls (Dutch, 1824-1911) Woman Sewing oil on panel 21 x 27 inches. $3,000-5,000 28*

Attributed to Ludwig Knaus

(German, 1829-1910) The Naughty Maids (a pair of works) oil on canvas 32 x 23 1/2 inches. Property from the Collection of Diane Ruhl, Kalamazoo, Michigan $2,000-4,000

american and european art

29*

Joseph Caraud

(French, 1821-1905) Discovered, 1854 oil on canvas signed J. Caraud and dated (lower right) 31 1/2 x 25 inches. Property of the Union League Club of Chicago, Sold to Benefit its Acquisition Fund $5,000-7,000

30*

Charles Cordier

(French, 1848-1909) House in Gretz Fountainebleu Forest oil on canvas signed Ch. Cordier (lower left) 12 1/2 x 17 1/2 inches. Property from the Estate of Patricia Battram, St. Louis, Missouri $1,000-2,000 31

Nadia Benois

(Russian, 1896-1975) Port Village, 1933 oil on canvas signed N Benois and dated (lower right) 29 x 20 inches. $1,000-2,000 31

american and european art

FĂŠlix Hilaire Buhot

(French, 1847-1898) Untitled pencil on paper stamped (lower right) 6 3/4 x 4 inches. $700-900 33

Henri Joseph Harpignies

(French, 1819-1916) Landscape, 1886 watercolor signed H Harpignies (lower left) 5 1/2 x 4 inches. $300-500 34

Henri Joseph Harpignies

(French, 1819-1916) Landscape, 1847 pencil on paper signed H Harpignies (lower left) 10 7/8 x 16 1/2 inches. $500-700

Henri Joseph Harpignies

(French, 1819-1916) Sheperd and Flock, 1902 watercolor signed H Harpignies (lower left) 13 5/8 x 9 7/8 inches. $800-1,200 36

Henri Joseph Harpignies

(French, 1819-1916) Landscape, 1908 charcoal on paper signed H Harpignies (lower left) 13 5/8 x 9 7/8 inches. $500-700

37*

Hendrick-Dirk Kruseman Van Elten

Ludwig Hartmann

(Dutch, 1829-1904) Landscape with Cows oil on canvas signed Kruseman Van Elten (lower right) 20 x 30 inches. Property from the Estate of John F. Norwood, St. Louis, Missouri $1,000-2,000

american and european art

(German, 1835-1902) Pause During Plowing, 1869 oil on canvas signed Ludwig Hartmann and inscribed (lower right) 23 x 40 inches. $2,000-4,000

39*

Anthonij (Anton) Rudolf Mauve

(Dutch, 1838-1888) Three Cows oil on board signed A. Mauve (lower right) 12 1/2 x 20 1/4 inches. Property from the Estate of James D. Murphy, Chicago, Illinois $5,000-7,000

Johan Hendrick Von Mastenbroek (Dutch, 1875-1945) River Scene, 1903 watercolor on paper signed J.H von Mastenbroek and dated (lower left) 8 3/4 x 13 3/4 inches. $1,000-2,000 41

David Artz

(Dutch, 1837-1890) Sea-Side Contemplation watercolor on paper signed D.A. Artz (lower left) 22 x 16 inches. $400-600 42

August Hagborg

(Swedish, 1852-1921) Fishermen on Beach oil on canvas signed (lower left) 40 x 30 inches. $1,000-2,000

James Salt

(British, 1850-1903) Venetian Scene, 1884 oil on canvas signed J. Salt and dated (lower left) 36 x 28 inches. $1,000-2,000

Zhu Xiaogang

(Chinese, b. 1954) Canal Scene oil on canvas initialed AHS (lower left) 17 x 15 inches. $600-800

Guiseppe de Nittis

Attributed to Jean-Francois Rafaelli

(Italian, 1846-1889) Girl with Parasol oil on canvas signed DeNittis (lower right) 12 x 7 1/2 inches. $2,000-4,000

(French, 1850-1924) Portrait of a Young Girl oil on canvas signed JF Rafaelli (lower right) 21 3/4 x 18 1/4 inches. $3,000-5,000

Jules Pascin

(French, 1885-1930) Sleepy Figures ink on paper signed Pascin (lower left) 20 x 24 inches. $1,000-2,000 48

Jules Pascin

(French, 1885-1930) Batherâ&#x20AC;&#x2122;s Scene pencil and watercolor signed indistinctly (lower right) 19 x 25 1/2 inches. $1,000-2,000 49

Abraham Walkowitz

american and european art

(American/Russian,1878-1965) Dancing Figure, 1909 charcoal signed A. Walkowitz and dated (lower center) 10 x 7 1/2 inches. $500-700

50*

52*

Attributed to Henri ToulouseLautrec

Raoul Dufy

Attributed to Georges Rouault

(French, 1864-1901) Chez La Gantiere pencil on paper 3 x 3 1/2 inches. Property from the Estate of John M. Harney, St. Louis, Missouri $1,500-2,500

(French, 1877-1953) Lâ&#x20AC;&#x2122;Oasis pencil intialed R.D and titled (lower center) 17 x 15 inches. $2,000-4,000

(French, 1871-1958) Clown gouache on rice paper signed Georges Rouault (lower right) 5 3/4 x 4 7/8 inches. Property from the Estate of John M. Harney, St. Louis, Missouri $5,000-7,000

Jean Béraud

(French, 1849-1936) Le Pont de Bercy, c. 1880 oil on canvas signed Jean Béraud (lower right) 18 1/4 x 22 inches. Property from a Private Collection, Lake Forest, Illinois Provenance: Private collection, Scotland Sold: Christie’s, Glasgow, April 2, 1969, lot 70 Rutland Gallery, London Private collection, acquired from the above; thence by descent Sold: Sotheby’s, London, November 16, 2005, lot 246 MacMonal Mason and Sons, Ltd., London Private collection, acquired by the present from the above Exhibited: London, Rutland Gallery, French and Belgian Painting Where they Meet and Diverge, 1969, no. 1 Literature: P. Offenstadt, Jean Béraud 1849-1935, The Belle Epoque, A Dream of Times Gone By, Taschen, 1999, p. 156-157, no. 160, illus. London, Rutland Gallery, French and Belgian Painting Where they Meet and Diverge, exhibition catalogue, 1969, no. 1, illus. $200,000-300,000

Described as “a sophisticated Parisian who knows where to go and has the gift for observation,” Jean Béraud captured in his lively paintings the grand boulevards and stylish denizens of Belle Epoque Paris. Originally trained as an Academic artist, early in his career Béraud was influenced by the Impressionists, with their quick brushstrokes and urban themes. He was a close friend of Edouard Manet and frequented the same cafés as Edgar Degas, Pierre Renoir, and Henri Toulouse-Lautrec. Like them, Béraud sought to objectively convey the modernization of Paris caused by Baron Hausmann’s physical reconfiguration of the city. Le Pont de Bercy displays Béraud’s talent for depicting everyday life in Paris without sentimentality or picturesqueness. A man in a blue working smock converses with a smartly but soberly dressed woman. They stand on the banks of the Seine at Bercy, upstream from Paris. Originally a small, separate commune, Bercy was annexed in 1860 by the Second Empire. By the 1870s, it was developing into a residential and commercial quarter of Paris. Behind the couple can be seen the Pont de Bercy, completed in 1864, with a steady stream of traffic. Barges placidly float on the river and an idle work cart stands at the ready along the still incomplete river embankments. From the Impressionists, Béraud also developed an interest in Japanese ukiyo-e prints, with their asymmetrical compositions. In the present work, elements of the Eastern art form can be seen in the artist’s use of large expanses of empty space punctuated by dark figures, as well as the diagonal lines of the bridge and tram lines cutting across the canvas. The candid grouping of the couple, off-center focus and deep perspective likewise owe something to the new art of photography pioneered by Niépce, Daguerre and Fox Talbot. Béraud was known to sit and sketch in a hired carriage for hours in order to capture spontaneous fragments of the city’s life, as if he himself was a roving camera. In both its subject matter and compositional structure, Le Pont de Bercy reveals the artist as one of the great nineteenth-century painters of modern life.

Saint-Juirs, “Le Salon de 1881,” Le Clairon, May 1, 1881, p. 2 as quoted in Patrick Offenstadt, Jean

Beraud, 1849-1935: The Belle Epoque, a Dream of Times Gone By, Catalogue Raisonne, Paris, 1999, p. 49.

american and european art

54*

Antoine Blanchard

(French, 1910-1988) Madeleine oil on canvas signed Antoine Blanchard (lower left) 13 1/4 x 18 inches. Property from the Collection of David Maren, Westchester, Illinois Provenance: The artist Galerie La Colline Mr. and Mrs. Andrew and Ethel Maren, acquired from the above Thence by descent to the present owner $4,000-6,000

Antoine Blanchard

(French, 1910-1988) Théâtre des Variétés oil on canvas signed Antoine Blanchard (lower right) 23 1/4 x 35 inches. Provenance: Private Collection, United Kingdom Rehs Gallery, New York City Private Collection, Texas $5,000-7,000 This work is included in the online catalogue raisonné of Antoine Blanchard’s work being compiled by Rehs Galleries, Inc. as no. TVBMM2436.0002.

american and european art

Antoine Blanchard

(French, 1910-1988) La Louvre, Passerelle des Artistes oil on canvas signed Antoine Blanchard (lower right) 23 1/2 x 35 1/4 inches.

(French, 1910-1988) Place de la République oil on canvas signed Antoine Blanchard (lower right) 23 x 35 1/4 inches.

This work is included in the online catalogue raisonné of Antoine Blanchard’s work being compiled by Rehs Galleries, Inc. as no. LVQLE2436.0000.

Provenance: Private Collection, Colorado Rehs Gallery, Inc., New York City, 2002 Corporate Collection, Texas, 2003 $5,000-7,000

Provenance: Rehs Gallery, Inc., New York City, 2003 Corporate Collection, Texas, 2003 $5,000-7,000

This work is included in the online catalogue raisonné of Antoine Blanchard’s work being compiled by Rehs Galleries, Inc. as no. RBRTSE2436.0000. 37

Edouard Léon Cortès

(French, 1882-1969) Horse Cart Along A Trail oil on canvas signed Edouard Cortès (lower left) 23 x 35 1/4 inches. $8,000-12,000 59

No Lot

american and european art

Edouard Léon Cortès

(French, 1882-1969) Quai Montebello oil on canvas signed Edouard Cortès (lower right) 15 1/2 x 21 1/4 inches. $12,000-18,000

Edouard Léon Cortès

(French, 1882-1969) Place de L’Opéra oil on canvas signed Edouard Cortès (lower right) 12 5/8 x 17 3/4 inches. $15,000-25,000

american and european art

André Gisson

(American, 1921-2003) Nude oil on canvas signed Gisson (lower right) 11 3/4 x 9 inches. $600-800 63*

André Gisson

(American, 1921-2003) Beach Scene oil on canvas signed Gisson (lower right) 24 x 36 inches. Property from the Collection of Louis Meiners, Naples, Florida $1,500-2,500 64

André Gisson

(American, 1921-2003) Arc de triomphe oil on canvas signed André Gisson (lower left) 16 x 20 inches. $1,500-2,500 65*

André Gisson

(American, 1921-2003) Street Scene oil on canvas signed A. Gisson (lower right) 24 x 12 inches. Property from the Collection of Louis Meiners, Naples, Florida $1,000-2,000 65

Max Moreau

(Belgian, 1902-1992) Paris Street Scene oil on canvas signed Max Moreau (lower left) 24 x 35 1/2 inches. $1,000-2,000 67

John Morris

(American, 20th century) Arc de triomphe, 1912 oil on canvas signed John Morris and dated (lower right) 30 x 21 1/4 inches. $400-600 68

Alois Arnegger

(Austrian, 1879-1967) Snowy Scene oil on canvas signed A. Arnegger (lower right) 24 1/4 x 36 inches. $1,000-2,000

american and european art

69*

Attributed to Maurice de Vlaminck (French, 1876-1958) Sous-Bois watercolor and gouache signed Vlaminck (lower left) 14 x 18 inches. Property from the Collection of Anne S. Dorsey, Louisville, Kentucky $5,000-7,000

Ernest Guerin

(French, 1887-1952) Conleau, Morbihan, Bretagne watercolor, gouache and graphite on paper signed E. Guerin and titled (lower right) 14 1/4 x 17 1/2 inches. $1,000-2,000

american and european art

71*

Attributed to Louis Valtat

(French, 1869-1952) Paysage Maritime oil on panel initialed LV (lower right) 5 3/4 x 9 3/4 inches. Property from the Collection of Anne S. Dorsey, Louisville, Kentucky $5,000-7,000

Paul Deltombe

(French, 1881-1971) Harbor Scene oil on canvas signed Deltombe (lower left) 21 1/4 x 32 inches. $600-800 73

Yolande Ardissone

(French, b. 1927) Amsterdam oil on canvas signed Ardissone (lower right) 28 x 36 inches. Provenance: Wally Findlay Gallery, Chicago $2,000-4,000

american and european art

Yolande Ardissone

(French, b. 1927) Oriental Market oil on canvas signed Ardissone (lower right) 20 x 23 1/2 inches. $2,000-4,000

Louis Basset

(French, b. 1948) At the Racecourse oil on canvas signed L. Basset (lower right) 24 x 20 inches. $2,000-4,000

75A

Jean Pierre Dubord

(French, b. 1949) Sunset on the Canal oil on canvas signed J.P. Dubord (lower right) 25 1/2 x 33 1/2 inches. $800-1,200

(French, b. 1949) French Beach Scene oil on canvas signed J.P Dubord (lower right) 23 x 27 1/4 inches. $800-1,200

Niek van der Plas

(Dutch, b. 1954) Beach Scene oil on canvas signed van der Plas (lower right) 14 x 22 inches. $2,000-4,000

american and european art

Niek van der Plas

(Dutch, b. 1954) Beach oil on canvas signed van der Plas (lower right) 12 x 16 inches. $1,500-2,500 79

Niek van der Plas

(Dutch, b. 1954) Naples Beach oil on canvas signed van der Plas (lower right) 22 x 26 1/2 inches. $2,500-4,500 79

80*

Pierre Bittar

(French, b. 1934) Sailboat Scene oil on canvas signed Bittar (lower right) 22 1/2 x 29 inches. Property from the Estate of Patricia Battram, St. Louis, Missouri $7,000-9,000 81*

Pierre Bittar 80

american and european art

(French, b. 1934) Harbor Scene oil on canvas signed Bittar (lower left) 11 1/2 x 16 inches. Property from the Estate of Patricia Battram, St. Louis, Missouri $4,000-6,000

Marcel Mouly

(French, 1918-2008) Navires et voiliers au grand ciel, 1999 acrylic on canvas signed M. Mouly and dated (lower right); signed, titled and dated (verso) 57 1/2 x 38 inches. $10,000-15,000

Bernard Buffet

(French, 1928-1999) La Tour Eiffel, 1955 oil on canvas signed Bernard Buffet and dated (upper right) 57 x 38 inches. $200,000-300,000

Born in in 1928, Bernard Buffet came of age during a tumultuous time, both artistically and politically. From 1944-45, he studied at the Ecole des Beaux Arts, where he studied the figurative tradition. Like many young painters in post-World War II Europe, Buffet reacted against Abstraction and instead embraced visual reality. He joined Homme-Temoin, a group of French artists who promoted an expressive Social Realism. They endeavored to create paintings that were authentic and direct, works that would more deeply speak to the common sense of the populace. Buffet would go on to establish his highly distinctive style, characterized by sharp, craggy linear forms, muted colors, and solitary mood that seemed to express the existential alienation and spiritual isolation of the postwar generation. Executed in 1955, La Tour Eiffel successfully articulates the atmospheric melancholy of Buffet’s early work. The composition depicts a view southeast across the Seine, looking directly toward the Eiffel Tower and the Ecole Militaire. A sense of remoteness pervades the scene, which is devoid of the usual crowds that populate one of the most well known attractions of Paris. The dark outlines and grisaille palette further emphasize the subdued setting. Interestingly, Buffet includes in the background la Grande Roue, a Ferris wheel built on the Champs de Mars for the 1900 Universal Exposition. At almost 350 feet in height, it was at the time the tallest panoramic wheel in the world. However, the gigantic wheel’s popularity waned after World War I and it was torn down in 1920, before the present work was created. Rather than a direct recording of reality, Buffet instead presents a sepia-tinged ghost, a nostalgic remembrance of the City of Light’s vanished joie de vivre. The year La Tour Eiffel was painted, Buffet was awarded the first prize by the magazine Connaissance des Arts, which named the ten best post-war artists. The artist was already highly successful by this time, with his first one-man exhibition in 1947 at the Galerie des Impressions d’Art. The following year he was awarded the Prix de la Critique, at the age of 20. In 1958, Galerie Charpentier held the first retrospective of his work. Buffet would continue to be enormously successful throughout his career, with works exhibited worldwide and held in renowned collections, including the Tate Gallery, London; Fine Arts Museum of San Francisco, California; and the Centre Pompidou, Paris. His career culminated in 1973, with the opening of the Bernard Buffet Museum in Surugadaira, Japan.

american and european art

84*

Pierre de Clausade

(French, 1910-1976) Paris Scene oil on canvas signed P. de Clausade (lower right) 23 x 27 1/2 inches. Property from the Estate of Noble M. Melencamp, Colorado Springs, Colorado $2,000-4,000 85*

Charles Levier

(French, 1920-2003) Coastal Building oil on canvas signed Levier (lower left) 15 1/2 x 19 1/2 inches. Property from the Estate of Noble M. Melencamp, Colorado Springs, Colorado $600-800

american and european art

Dominique DoriĂŠ

(French, b. 1958) Pastoral Scene oil on canvas signed Dorie (lower right) 23 3/4 x 21 1/2 inches. $1,000-2,000 87

Maurice Kish

(American/ Russian, 1895-1987) Card Players oil on panel signed Maurice Kish (lower left) 12 1/2 x 16 1/2 inches. $1,000-2,000 88

Maurice Kish

(American/ Russian, 1895-1987) (Picasso) Portrait of Mr. Big oil on panel signed Maurice Kish (lower right) 8 1/8 x 6 1/8 inches. $600-800 89

Bradi Barth

(Swiss, 1922-2007) Untitled (Mother and Child), 1960 oil on board signed Bradi Barth and dated (lower right) 24 x 20 inches. $800-1,200

American Art Lots 90 â&#x20AC;&#x201C; 167

Opposite: Lot 109 William Lamb Picknell, Annisquam River (detail)

90*

91*

Richard La Barre Goodwin

George W. Platt

(American, 1840-1910) Pair of Woodcocks oil on canvas signed R La Barre Goodwin (lower right) 20 1/4 x 16 1/4 inches. Property from the Collection of Virginia Miller, Fairway, Kansas $2,000-4,000

american and european art

(American, 1839-1899) Untitled, 1881 oil on canvas signed G.W. Platt and dated (lower left) 20 1/2 x 16 3/8 inches. Property from the Collection of Jennifer Field, Kansas City, Missouri $800-1,200

John Joseph Enneking

(American, 1841-1916) Sunny Landscape, 1898 oil on board signed Enneking and dated (lower right) 8 3/4 x 12 inches. $600-800 93

Charles Walter Stetson

(American, 1858-1911) A Joyous Band, 1900 oil on canvas signed Stetson and dated (lower left); signed, titled and dated (verso) 8 1/2 x 10 1/4 inches. $1,000-2,000 94

Elihu Vedder

(American, 1836-1923) Three Graces chalk 24 1/2 x 20 inches. $800-1,200

Alfred Jansson

(American/Swedish, 1863-1931) Forest Clearing, 1909 oil on canvas signed Alfred Jansson and dated (lower right) 26 x 21 inches. $1,000-2,000

american and european art

Joseph Rusling Meeker

(American, 1827â&#x20AC;&#x201C;1889) Near Lake Maurepas, 1877 oil on canvas signed JR Meeker and dated (lower left); signed and titled (verso) 14 1/2 x 20 inches. Provenance: Private Collection, Louisiana Gifted to the present owner by the above, 2015 $20,000-30,000

Joseph Rusling Meeker, though trained in New York in the Hudson River School tradition under Asher B. Durand, settled in St. Louis and became the leading painter of the Southern United States landscape. During the Civil War, he served as a paymaster aboard a gunboat in the Lousiana swampland. Though it was a dangerous and tumultuous time, Meeker was able to find the serenity and beauty in the surrounding landscape. He made hundreds of sketches during this time, which he later developed into his famous atmospheric paintings of the bayou. He would continue to make journeys to the lower Mississippi after he settled in St. Louis that would serve as inspiration for his paintings.

Lake Maurepas, located halfway between New Orleans and Baton Rouge, was a favorite spot for Meeker, and he painted it several times. In the present work, he catches a moment when the sun is behind a cloud, infusing the landscape with a pink and purple tone and the characteristic vegetation of the bayou (water lilies, cypress trees, and reeds) can be seen. The composition of Near Lake Maurepas evokes a feeling of serenity and stillness and showcases Meekerâ&#x20AC;&#x2122;s skill of capturing the mysterious Louisiana bayou.

97*

Julian Onderdonk

(American, 1882-1922) The Golden Hour, 1913 oil on canvas signed Julian Onderdonk (lower right), signed, titled and titled (verso) 10 x 14 inches. Property from the Collection of Virginia Miller, Fairway, Kansas $8,000-12,000

american and european art

98*

Oleg Stavrowsky

(American, b. 1927) Lazy Canyon oil on canvas signed Oleg Stavrowsky (lower right) 36 1/2 x 24 inches. Property from the Collection of Christopher Kinney, Bloomington, Illinois $2,000-4,000

Robert Wadsworth Grafton

(American, 1876-1936) Trail Creek in Spring oil on canvas signed R.W. Grafton (lower right) 24 1/2 X 22 inches. $2,000-4,000

american and european art

100*

Louis Benton Akin

(American, 1868-1913) Grand Canyon, 1909 oil on canvas laid to masonite signed Louis Akin and dated (lower left) 23 7/8 x 36 inches. Property from the Estate of John F. Norwood, St. Louis, Missouri Provenance: Kodner Gallery, St. Louis, Missouri $5,000-7,000

100

101

Daniel Ridgway Knight

(American, 1839-1924) Meditation oil on canvas signed Ridgway Knight and inscribed (lower right) 20 1/4 x 24 inches. $8,000-12,000

american and european art

102

Louis Aston Knight

(French/American, 1873-1948) Normandy Sunset oil on canvas signed Aston Knight and inscribed (lower right) 22 x 18 inches. $3,000-5,000

102

103

Louis Aston Knight

(French/American, 1873-1948) Summer Afternoon oil on canvas signed Aston Knight and inscribed (lower left) 22 x 18 inches. $4,000-6,000

103

104*

James Gale Tyler

(American, 1855-1931) Sailing Ship oil on canvas signed James G. Tyler (lower left) 21 1/2 x 17 inches. Property from the Collection of Nancy Vincent, Chicago, Illinois $1,000-2,000 105

Leon Lundmark

(American, 1875-1942) Battle of the Waves oil on canvas signed Lundmark (lower right) 24 x 34 inches. $800-1,200 106

Leon Lundmark

(American, 1875-1942) Red Rocks from Presque Isle oil on canvas signed Lundmark (lower left) 13 x 17 1/2 inches. $600-800

104

106

american and european art

107

Leon Lundmark

(American, 1875-1942) A Grey Easter oil on canvas signed Lundmark (lower left) 13 1/2 x 17 1/2 inches. $600-800 108

Leon Lundmark

(American, 1875-1942) Light Blue Seascape oil on canvas signed Lundmark (lower left) 11 x 16 inches. $600-800

107

108

109

Cullen Yates

(American, 1866-1945) Low Tide oil on canvas signed Cullen Yates (lower left) 12 x 16 1/4 inches. $1,500-2,500 110

David Ericson

(American, 1873-1946) Departure of the Fishing Fleet off Cape Cod, Mass. oil on canvas signed David Ericson (lower right) 25 x 32 inches. $700-900

110

american and european art

111*

111

Melbourne Hardwick

(American, 1857-1916) Collecting Salt Marsh Hay oil on canvas signed Melbourne Hardwick (lower right) 29 x 36 inches. Property from the Collection of Walter and Nancy Lytwyn, Naperville, Illinois $2,000-4,000 112*

Henry Golden Dearth

(American, 1864-1918) Ocean Waves oil on canvas 23 x 28 inches. Property from the Estate of John F. Norwood, St. Louis, Missouri $700-900

113*

Emile Albert Gruppe

(American, 1896-1978) Coastal Scene oil on canvas signed Emile A. Gruppe (lower right) 24 1/2 x 29 1/4 inches. Property from the Estate of Noble M. Melencamp, Colorado Springs, Colorado $3,000-5,000

american and european art

113

114*

114

Emile Albert Gruppe

(American, 1896-1978) Coastal Scene oil on canvas signed Emile A. Gruppe (lower right) 19 1/2 x 23 1/2 inches. Property from the Estate of Noble M. Melencamp, Colorado Springs, Colorado $2,000-4,000

115*

Emile Albert Gruppe

(American, 1896-1978) Landscape oil on canvas signed Emile A. Gruppe (lower right) 19 1/2 x 15 1/2 inches. Property from the Estate of Noble M. Melencamp, Colorado Springs, Colorado $2,000-4,000

115

american and european art

116

116*

William Lamb Picknell

(American, 1854-1897) Annisquam River oil on canvas signed Wm. L. Picknell (lower left) 24 x 36 inches. Property from the Collection of Walter and Nancy Lytwyn, Naperville, Illinois Provenance: Auslew Gallery, Norfolk, VA Sears Roebuck Co., acquired from the above in 1978 Acquired from the above by the present owner, 2000 $15,000-25,000

A master at imitating sunlight and capturing the textures and mood of a landscape, Walter Lamb Picknell made some of his best known paintings at the artistâ&#x20AC;&#x2122;s colony of Annisquam on Cape Ann, Massachusetts. Although Picknell spent many years abroad studying the European tradition, he developed a distinctly American style that emphasized atmosphere and light. Like the French artist Gustave Courbet, he began using a palette knife to apply paint directly on the canvas, allowing him to cover areas with swaths of paint and create texture.

Picknell lived with George Inness in Rome for several years, and it was from Inness that he learned to see and paint civilized nature, where human involvement in nature is incorporated quietly into the landscape. In Annisquam River, a small glowing church sits on a hill in the background, and several houses are nestled in the hillside. Bathed in sunlight, they are united with the landscape in a harmonious manner.

117

118

117*

118

Adolph Robert Shulz

Fred Haines

(American, 1869-1963) Foggy Morning oil on canvas signed A.R. Schulz (lower left) 18 x 26 inches. Property from the Collection of Mr. Chase Pivarnik, Valparaiso, Indiana Exhibited: Society of Western Artists, Eight Annual Exhibition, 1903-1904 $2,500-3,500

american and european art

(Canadian, 1879-1960) Entrance to Ox Lake oil on canvas signed Fred S Haines (lower left) 15 1/2 x 19 1/4 inches. $1,000-2,000

119*

John Templeton

(American, 1880-1958) Landscape oil on board signed J.C. Templeton (lower right) 12 x 16 inches. Property from the Collection of Mr. Chase Pivarnik, Valparaiso, Indiana $800-1,200

120*

Varaldo Guiseppe Cariani

(American, 1891-1969) Road Between the Trees oil on canvas signed V. J. Cariani (lower right) 25 x 30 1/4 inches. Property from the Collection of Mr. Chase Pivarnik, Valparaiso, Indiana $2,500-3,500 121

Frank Peyraud

(American, 1858-1948) September Morning on the Skokie oil on canvas signed F.E. Peyraud (lower right) 36 x 29 1/4 inches. $2,000-4,000 122

No Lot

120

121

123

Joseph Stella

(American, 1877-1946) Waterlily silverpoint and crayon on paper signed Joseph Stella (upper right and lower right) 14 1/2 x 11 1/2 inches. $8,000-12,000

american and european art

124*

Attributed to J. Alden Weir

(American, 1852-1919) Willimantic oil on canvas 20 1/8 x 24 1/8 inches. Property from the Estate of John F. Norwood, St. Louis, Missouri Exhibited: St. Louis, St. Louis Art Museum, Impressionism Reflected: American Art, 1890-1920, May 6-June 27, 1982, no. 4833.1 $1,500-2,500 125*

Abel George Warshawsky

(American, 1883-1962) Park in Paris oil on panel signed A. G. Warshawsky (lower right) 17 x 21 inches. Property from the Estate of Thelma Warshell, Highland Park, Illinois $2,000-4,000

124

125

126*

Alexander Warshawsky

(American, 1887-1945) Floral Still Life oil on canvasboard signed Xander Warshawsky (lower right) 26 1/2 x 33 inches. Property from the Estate of Thelma Warshell, Highland Park, Illinois $700-900 127*

Alexander Warshawsky

(American, 1887-1945) Landscape with Cow, 1917 oil on canvas signed indistinctly and dated (lower right) 26 x 33 inches. Property from the Estate of Thelma Warshell, Highland Park, Illinois $1,500-2,500

126

127

american and european art

130

128*

129

Robert William Vonnoh

No Lot

(American, 1858-1933) The Mill oil on canvasboard signed Vonnoh (lower left) 16 x 20 inches. Property from the Estate of John F. Norwood, St. Louis, Missouri Provenance: Sold: Sothebyâ&#x20AC;&#x2122;s New York, March 15, 1986, Lot 159 $1,500-2,500

130

Allen Tucker

(American, 1866-1939) Playa San Fernando, c. 1910 oil on canvas signed Allen Tucker and inscribed (verso) 12 x 15 1/4 inches. $2,000-4,000

131*

Harry B. Lachman

(American, 1886-1975) Winter Bridge oil on composition board signed Harry B. Lachman (lower right) 12 x 15 inches. Property from the Estate of James D. Murphy, Chicago, Illinois $1,000-2,000 132

Aldro Thompson Hibbard

(American, 1886-1972) Winter Landscape oil on canvas signed A.T. Hibbard (lower right) 18 x 15 inches. $4,000-6,000 133

William Samuel Horton

131

132

american and european art

(American, 1865-1936) Snow at Gstaad, The Valley, 1922 oil on board signed Horton (lower left); inscribed, titled and dated (verso) 25 x 30 inches. $1,500-2,500

136

134

No Lot 135

No Lot 136

Ernest Lawson

(American, 1873-1939) Spring Landscape and Harbor Scene (a double sided work) oil on canvas signed E. Lawson (lower left) 20 x 24 inches. $15,000-25,000

(verso)

137

Eliot Candee Clark

(American, 1883-1980) Landscape oil on canvas 24 x 30 inches. $300-500 138

Francesco J. Spicuzza

(American, 1883-1962) Sunset pastel signed F. Spicuzza (lower left) 17 x 23 3/4 inches. $400-600 139

Francesco J. Spicuzza

137

138

139

american and european art

(American, 1883-1962) Landscape oil on canvas signed F. Spicuzza (lower right) 21 x 23 inches. $800-1,200

142

140

142

Frank Duveneck

Charles Dana Gibson

(American, 1848-1919)) Potrait charcoal signed Frank Duveneck (lower center) 18 x 16 inches. $500-700

(American, 1867-1944) The Confession pen and ink on paper signed Gibson (lower center) 20 3/4 x 17 inches. $1,500-2,500

141

No Lot

143

Diego Rivera

(Mexican, 1886-1957) Portrait of Bert Mitchell, 1948 pencil on paper signed Diego Rivera, inscribed and dated (lower right) 15 3/4 x 11 3/8 inches. Lot note: This work is inscribed “To Muriel. this profile of Mitchell.” Drawn on verso of color lithograph General, Emiliano Zapato, Cortes Palace. Cuernavaca, Mexico by Rivero also signed Diego Rivera in pencil, dated 1948, and inscribed “To my friends Mitchels.” $8,000-12,000

143

(verso)

american and european art

146

144

146*

No Lot

William Glackens

145

No Lot

(American, 1870-1938) Seated Man with Hat and Suitcase ink signed W. Glackens (lower right) 7 1/2 x 5 inches. Property from the Estate of Shirle N. Westwater, Columbus, Ohio $400-600

147*

Oskar Gross

(American, 1871-1963) Game of Chess oil on canvas signed Oskar Gross (lower right) 30 1/4 x 40 1/4 inches. Property from the Collection of Sandra Burch Powell, Champaign, Illinois Provenance: Illinois Lutheran General Hospital, Chicago Dr. and Mrs. John Orndorff, Chicago By descent to Jill and Alice Orndorff, daughters of the above Gifted from the above to the present owner This painting includes a self-portrait of the artist on the left. $4,000-6,000

147

american and european art

149

148

No Lot 149

William Louis Sonntag, Jr.

(American, 1869-1898) Street Market watercolor signed W.L. Sonntag (lower left) 9 3/4 x 13 1/2 inches. $1,000-2,000

150*

Thomas Hart Benton

(American, 1889-1975) West Virginia, Mountain Church, 1934 sepia wash, ink and pencil on paper signed Benton (upper right) 10 x 14 inches. Property from the Collection of the Anne P. Foster Trust, Kansas City, Missouri Provenance: Collection of the artist Purchased from the above by the present owner Literature: Thomas Hart Benton, Benton Drawings: A Collection of Drawings by Thomas Hart Benton, Columbia, 1968, p. 47, illus. $10,000-15,000

Thomas Hart Benton, painter of American life and history, was a restless man with seemingly endless energy for travel. As a child, he grew up listening to stories of his maternal grandfather, Pappy Wise, and his affliction with “foot itch” that led him to ramble throughout Kentucky, Tennessee, Missouri, and Texas. His own father, a U.S. representative for Missouri, likewise nostalgically reminisced of his travels during his Ozark campaigns. After his father’s death in 1924, Benton was inspired to go on his own journeys to see for himself the variety and picturesqueness of the people of America. He traveled throughout the Ozarks and Texas, and in 1928 he made an extended trip to the Appalachians, then to Wyoming and the Rockies. Benton continued to make visits to Appalachia in the early 1930s, and in 1934 he traveled to West Virginia with his student Bill Hayden and an Italian newspaper correspondent. While there, the three men encountered members of the Holy Roller faith, whose services relied heavily on the use of musical instruments. Always looking for characters and particularly American scenes to capture and use as material for later paintings, Benton finagled an invitation to a Holy Roller gathering, where he sketched West Virginia Mountain Church. In this work, the artist depicts a working class audience in a simple church, quietly enjoying the music of a fiddler and guitarist. The two musicians are bathed in the white light of a coal-mining lamp and they stand above the crowd, the focus of all attention. The scene is contemplative, perhaps executed before a woman preacher stepped onto the stage and, as Benton described it “…the congregation burst into voice. The rafters shook. Three or four roaring hymns were sung and stamped” (An Artist in America, p. 106). A “knifing” outside the building eventually interrupted the raucous energy of the church service, with a young boy only slightly wounded and his assailant captured. The drawing belies none of the drama to come, but instead captures a reflective moment, a calm before a spiritual and secular storm. The figure of the guitar player in West Virginia Mountain Church may be a model for the guitar player in Lord Heal the Child (Private Collection), also executed in 1934. Lord Heal the Child similarly features a woman preacher, as described in Benton’s account of his experience, and may be a composite of different scenes that the artist sketched during his trip.

american and european art

150

151*

Thomas Hart Benton

(American, 1889-1975) Movie Set (sketch for Hollywood, 19371938) sepia wash, ink and pencil on paper signed Benton (lower right) 11 x 13 3/4 inches. Property from the Collection of the Anne P. Foster Trust, Kansas City, Missouri Provenance: Collection of the artist Purchased from the above by the present owner Literature: Thomas Hart Benton, Benton Drawings: A Collection of Drawings by Thomas Hart Benton, Columbia, 1968, p. 97, illus. $25,000-35,000 152*

Thomas Hart Benton

(American, 1889-1975) Burning of Chicago (sketch for Hollywood, 1937-1938) sepia wash, ink and pencil on paper signed Benton (lower right) 11 x 13 3/4 inches. Property from the Collection of the Anne P. Foster Trust, Kansas City, Missouri Provenance: Collection of the artist Purchased from the above by the present owner Literature: Thomas Hart Benton, Benton Drawings: A Collection of Drawings by Thomas Hart Benton, Columbia, 1968, p. 99, illus. $25,000-35,000

Best known for his bold, sculptural depictions of Midwestern life, Thomas Hart Benton’s art embodies the energy of America during a time of great change. No mere observer, however, in his documentation of this evolving cultural landscape—he was also a participant. After moving to New York in 1911, in 1913 the artist began painting sets for silent motion pictures in Fort Lee, New Jersey, the “first Hollywood.” He embraced the dramatic poses and theatrical lighting of the film industry, incorporating these techniques into works that moved cinematically, scene-by-scene, in multi-panel compositions. Benton would even build clay models, miniature sets, so he could study the play of light and shadow on three-dimensional shapes aiding him in creating a sense of “deep space” in his canvases. Perhaps because his paintings visually echoed motion pictures, in 1937 Life magazine commissioned Benton to go to Hollywood to paint a mural that would unveil the mysteries of the film industry to its readers. The artist spent a month sketching in Hollywood, mostly at 20th Century Fox Studios. Several movies were being filmed at the time on the lot, including In Old Chicago, a big budget musical about the fire of 1871. Benton produced over four hundred sketches and forty ink-wash drawings during his sojourn, including Burning of Chicago and Movie Set, which served as studies for the painting Hollywood (1937-38; Kansas City’s Nelson-Atkins Museum of Art, Kansas City, MO), a dynamic mural filled with actors, technicians and directors. Burning of Chicago (lot 152) depicts a scene from the movie In Old Chicago and served as the basis for the central section of Hollywood. At the time of its release, In Old Chicago was one of the most expensive movies ever made, and the drawing captures the choreographed chaos of an epic movie set of the 1930s. Members of the film crew float on barges or stand hip-deep in water in the foreground, aiming mirrors, microphones and lights toward the mass of actors and horses attempting to flee the fiery faux-Chicago as it burns in the background. The director is seen on the foremost raft under an umbrella, shouting through a megaphone and dramatically gesturing towards the action. Movie Set (lot 151) likewise reveals the complexity involved with filming even the most unassuming of scenes, and relates to the left panel of Hollywood. Depicted in the drawing is an elegantly coiffed starlet speaking to an older woman seated at a café table. In front of them and claiming the majority of the pictorial space is the film crew and all its paraphernalia. Men crowd the compact scene, whispering to each other, idly watching the dialogue, or handling the equipment. The strong vertical bases of the boom and light frame what are presumably the director and an assistant, and the boom arm hangs above the two actresses, the loci of the action. Both the Burning of Chicago and Movie Set are integral elements to the larger enterprise of the painting Hollywood. They also reveal an artist intensely interested in the process and mechanics of making movie magic, for both his own art and the big picture of American culture.

american and european art

151

152

153

Charles Dater Weldon

(American, 1844-1935) Bedouin Man, 1921 oil on canvas signed Charles Weldon and dated (lower right) 9 x 12 inches. $500-700 154*

Gerald A. Frank

(American, 1888-1962) Lady with Tiger oil on canvas signed Gerald A. Frank (lower right) 40 x 36 inches. Property of the Union League Club of Chicago, Sold to Benefit its Acquisition Fund $1,000-2,000 155

Burt Procter

(American, 1901-1980) Indonesian Girl oil on canvas signed Burt Procter (lower left) 33 x 16 inches. $1,000-2,000

155

american and european art

154

156

Fernando Cueto Amorsolo

(Filipino, 1892-1972) Water Carrier, 1944 oil on board signed F. Amorsolo and dated (lower right) 15 x 11 1/2 inches. Property from the Collection of Mark Phillips, Naples, Florida $20,000-30,000

156A

Stephen Scott Young

(American, b. 1957) The Champion (Study #2), 1995 drybrush watercolor signed S.S. Young (lower left) and titled (lower right) 16 1/4 x 16 inches. $15,000-25,000

american and european art

157

No Lot 158

Richard Alan Schmid

(American, b. 1934) Woman in Bed oil on canvas signed Schmid (lower left) 10 x 13 inches. $5,000-7,000

158

159

Richard Edward Miller

(American, 1875-1943) Portrait of a Woman Seated in a Landscape oil on canvas signed Miller (lower left) 46 x 35 inches. Property from a Private Collection $25,000-35,000

american and european art

159

160*

James Francis Day

(American, 1863-1942) The Piano Lesson oil on canvas signed Francis Day (lower left) 30 x 24 inches. Property from the Collection of Nancy Vincent, Chicago, Illinois $10,000-15,000

160

161

Giuseppe Dangelico Pino

(American, 1939-2010) Amongst the Flowers, 1977 oil on canvas signed Daeni and dated (lower right) 24 x 36 inches. $1,500-2,500

100 a m e r i c a n a n d e u r o p e a n a r t

162

Lawerence Lebduska

(American, 1894-1966) Animals, 1965 oil on artistâ&#x20AC;&#x2122;s palette signed L and dated (lower left) 16 x 12 inches. $1,000-2,000 163*

Loet Vanderveen

(American, b. 1929) Hippo bronze edition 145/250 Height: 9 inches. Property from the Estate of Noble M. Melencamp, Colorado Springs, Colorado $400-600 164

Robert Middaugh

163

(American, b. 1935) Three Interior Scenes (a group of three works) graphite on paper each signed Middaugh Each: 18 x 16 inches. $600-800

164

101

165

Redmond Stephens Wright

(American, b. 1903) Switching Train Cars, 1945 oil on canvas signed R. Stephens Wright and dated (lower center) 20 x 24 inches. $1,000-2,000

165

102 a m e r i c a n a n d e u r o p e a n a r t

166*

Frank Klienholz

(American, 1901-1988) Shopping on Avenue A oil on canvas signed Kleinholz (lower left) 39 x 27 1/2 inches. Property from the Collection of Loyola University Chicago to benefit the Loyola University Museum of Art, Chicago, Illinois $800-1,200 167

Richard Alan Schmid

(American, b. 1934) Chicago Street in Winter oil on canvas signed Richard Schmid (lower left) 11 1/2 x 14 inches. $800-1,200

166

167

103

Artist Index ARTIST NAME

LOT

Akin, Louis Benton 100 Amorsolo, Fernando Cueto 156 Aranda, José Jiménez y 23 Ardissone, Yolande 73, 74 Arnegger, Alois 68 Artz, David 41 Augustin, Jean Baptiste Jacques 6A Baikov, Fedor Il’ich 16 Barth, Bradi 89 Basset, Louis 75 Bega, Cornelis Pietersz 2 Benois, Nadia 31 Benton, Thomas Hart 150-152 Béraud, Jean 53 Bittar, Pierre 80, 81 Blanchard, Antoine 54-57 Boucher, François (Follower of) 3 Bourdelle, Emile Antoine 7 Buffet, Bernard 83 Buhot, Félix Hilaire 32 Cabanel, Alexandre 14A Caraud, Joseph 29 Cariani, Varaldo Guiseppe 120 Clark, Eliot Candee 137 Coomans, Heva 11-13 Cordier, Charles 30 Cortès, Edouard Léon 58-61 Crawford, William 8 Davies, Arthur B. 141 Dawson, Montague 19 Day, James Francis 160 de Clausade, Pierre 84 de Nittis, Guiseppe 45 de Vlaminck, Maurice (attrituted to) 69 Dearth, Henry Golden 112 Decamps, Alexandre-Gabriel 15 Delaroche, Paul 2A Delort, Charles Edouard 21 Deltombe, Paul 72 Dorié, Dominique 86 Dubord, Jean Pierre 76 Dufy, Raoul 51 Duveneck, Frank 140 Enneking, John Joseph 92 Ericson, David 110 Frank, Gerald A. 154 Frere, Charles Theodore (Frere Bey) 14 Gibson, Charles Dana 142 Gisson, André 62-65 Glackens, William 145, 146 Goodwin, Richard 90 Grafton, Robert Wadsworth 99 Grolleron, Paul Louis Narcisse 17 Gross, Oskar 147 Gruppe, Emile Albert 113-115 Guerin, Ernest 70 Hagborg, August 42 Haines, Fred 118 Hardwick, Melbourne 111 Harpignies, Henri Joseph 33-36 Hartmann, Ludwig 38 Hassam, Childe 122 Hibbard, Aldro 132 Hoppner, John (attributed to) 6 Horton, William Samuel 133 Israels, Josef (attributed to) 27 Jansson, Alfred 95 Johnston, Alexander 22 Kish, Maurice 87, 88 Kleinholz, Frank 166

Knaus, Ludwig (attributed to) 28 Knight, Daniel Ridgway 101 Knight, Louis Aston 102, 103 Lachman, Harry 131 Lawson, Ernest 134-136 Lebduska, Lawrence 162 Levier, Charles 85 Lippi, Filippo (School of) 1 Lundmark, Leon 105-108 Mastenbroek, Johan Hendrick Von 40 Mauve, Anthonij (Anton) Rudolph 39 Meeker, Joseph Rusling 96 Middaugh, Robert 164 Miller, Richard Edward 159 Moreau, Max 66 Morris, John 67 Mouly, Marcel 82 Myers, Jerome 148 Onderdonk, Julian 97 Pascin, Jules 47, 48 Peyraud, Frank 121 Picknell, William Lamb 116 Pino, Guiseppe Dangelico 161 Platt, George W. 91 Proctor, Burt 155 Rafaelli, Jean-Francois (attributed to) 46 Rigaud, Hyacinthe (after) 5 Rivera, Diego 143 Roberts, David 9 Rouault, Georges (attributed to) 52 Salt, James 43 Schmid, Richard Alan 158, 167 Shinn, Everrett 144 Shulz, Adoph Robert 117 Sonntag, Jr., William Louis 149 Soyer, Moses 157 Spicuzza, Francesco J. 138, 139 Stannerd, Eloise 10 Stawrowsky, Oleg 98 Stella, Joseph 123 Stetson, Charles Walter 93 Templeton, John 119 Thieme, Anthony 129 Toulouse-Lautrec, Henri (attributed to) 50 Tucker, Allen 130 Tyler, James Gale 104 Valtat, Louis (attrituted to) 71 van der Plas, Niek 77-79 Van Elten, Hendrick-Dirk Krusema 37 Vanderbank, John (the Younger) 4 Vanderveen, Loet 163 Vedder, Elihu 94 Vitali, Eduardo 24 Vonnoh, Robert William 128 Waite, James Clarke 20 Walkowitz, Abraham 49 Warshawsky, Abel George 125 Warshawsky, Alexander 126 Weir, J. Alden (attributed to) 124 Weldon, Charles Dater 153 Whitcombe, Thomas (attributed to) 18 Wright, Redmond Stephens 165 Xiaogang, Zhu 44 Yates, Cullen 109 Zampighi, Eugenio 26 Zoppi, Antonio 25

104 a m e r i c a n a n d e u r o p e a n a r t

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 artistâ&#x20AC;&#x2122;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.

105

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435 | luxury accessories and vintage fashion April 7 | chicago deadline february 5

427 | fine prints december 15 | chicago

443 | st. louis spring auction april 16 | st. louis deadline february 16

426 | property from the winter white house january 23 | palm beach

436 | fine furniture and decorative arts april 20–21 | chicago deadline february 19

429 | Palm Beach Winter Auction January 24 | palm beach deadline november 25

437 | fine books and manuscripts may 5 | chicago deadline march 4

430 | Fine Furniture and Decorative Arts January 26–27 | chicago deadline november 27

444 | Milwaukee spring auction may 6 | milwaukee deadline march 7

428 | Marketplace january 28–29 | online only

438 | 20th century decorative arts may 12 | chicago deadline march 11

442 | antique sporting art and leisure living March 10 | denver deadline january 22

439 | post war and contemporary art may 24 | Chicago deadline march 25

431 | Asian Works of Art March 21-22 | chicago deadline january 21

440 | fine prints may 24 | chicago deadline march 25

432 | Marketplace March 23 | online only

441 | american and european art may 25 | chicago deadline march 25

433 | fine jewelry April 4–5 | Chicago deadline january 22

Auction Inquiries AMERICAN AND EUROPEAN ART DEPARTMENT

Julia Leveille Head of Sale, American and European Art julialeveille@lesliehindman.com 312.334.4229

Jennifer Venezia Account Executive, American and European Art jennifervenezia@lesliehindman.com 312.334.4228

OFFICE OF THE PRESIDENT

Fine Art

Marketplace

REGIONAL AUCTION HOUSES

Leslie S. Hindman President and CEO 312.280.1212

Zack Wirsum Director zachary@lesliehindman.com

Adam Spender Executive Assistant 312.334.4201

Julia Leveille Associate Specialist julialeveille@lesliehindman.com 312.334.4229

Gia Spezia Director gia@lesliehindman.com 312.334.4219

Jim Sharp Director jim@lesliehindman.com 312.334.4203

Fine Books and Manuscripts

Vaughn Smith Account Executive vaughnsmith@lesliehindman.com 312.334.4238

ESTATES, APPRAISALS AND BUSINESS DEVELOPMENT Colleen Thielen Director of Estates and Appraisals colleenthielen@lesliehindman.com 312.447.3283 Molly Gron Business Development Manager mollygron@lesliehindman.com 312.334.4235 Katelyn Finn Account Executive katelynfinn@lesliehindman.com 312.447.3297 Katie Matusik Account Executive katelynmatusik@lesliehindman.com 312.334.4224

ADMINISTRATION Accounting Christopher Reimann Director of Finance christopherreimann@lesliehindman.com 312.447.3284 Katherine Russian Manager of Business Operations katherinerussian@lesliehindman.com 312.447.3263 Tara Schlitz Settlement Manager taraschlitz@lesliehindman.com 312.334.4225 Client Services Heather Daum Manager, Human Resources heatherdaum@lesliehindman.com 312.334.4208 Lauren Peartree Auction Coordinator laurenpeartree@lesliehindman.com 312.447.3289

consignment department Mary Kohnke Director of Consignments marykohnke@lesliehindman.com 3312.334.4236 108

Reed Landin Associate Specialist reedlandin@lesliehindman.com 312.334.4216 Jennifer Venezia Account Executive jennifervenezia@lesliehindman.com 312.334.4228 Lail Marmor Account Executive lailmarmor@lesliehindman.com 312.334.4264 Fine Furniture and Decorative Arts Mike Intihar Senior Specialist mike@lesliehindman.com Corbin Horn Specialist corbinhorn@lesliehindman.com

Sophie Hammond Hagman sophiehammond@lesliehindman.com 312.334.4231 Mary Kohnke Senior Specialist marykohnke@lesliehindman.com 312.334.4236 Asian Works of Art Benjamin Fisher Director benjaminfisher@lesliehindman.com 312.447.3281 Annie Wu Specialist anniewu@lesliehindman.com Yeuling Ji Account Executive 312.334.4217 yeulingji@lesliehindman.com Fine Jewelry and Timepieces

Benjamin Fisher Specialist benjaminfisher@lesliehindman.com

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

Nick Coombs Account Executive nickcoombs@lesliehindman.com 312.447.3292

Anne Farr Specialist annefarr@lesliehindman.com

Cassia Baker Account Executive cassiabaker@lesliehindman.com 312.447.3282 Elise Moyer Director, LH Exchange elisemoyer@lesliehindman.com 312.447.3261 20th Century Decorative Arts Mike Intihar Senior Specialist mike@lesliehindman.com Alyssa Hathaway alyssahathaway@lesliehindman.com 312.334.3290 Cassia Baker Account Executive cassiabaker@lesliehindman.com 312.447.3282

Jamie Henderson Account Executive/Cataloguer jamiehenderson@lesliehindman.com 312.334.4226 Hazel Kent Account Executive hazelkent@lesliehindman.com 312.334.4223 Katie Meyer Account Executive katiemeyer@lesliehindman.com 312.334.4213 Luxury Accessories and Vintage Fashion Anne Forman Director anneforman@lesliehindman.com 312.334.4222 Mary Shearson maryshearson@lesliehindman.com 312.447.3288

Michael McCarthy Account Executive michaelmccarthy@lesliehindman.com 312.334.4204

Denver 960 Cherokee Street Denver, Colorado 80204 303.825.1855

Milwaukee 525 East Chicago Street Milwaukee, Wisconsin 53202 414.220.9200

Naples 850 6th Avenue South Naples, Florida 34102 239.643.4448

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

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

REGIONAL OFFICES Palm Beach 125 Worth Ave Palm Beach, Florida 33480 561.833.8053

Regional Representatives Rockford, Illinois Janet Moore 815.399.3983 Ohio Macy Nyhart Hansen 513.560.3200 Washington, D.C. Maura Ross 561.676.3199 Mid Atlantic Roger Schrenk and Chris Fultz 703.217.3811

International 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.

$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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american and european art

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 $100,000; twenty percent (20%) of any amount in excess of $100,000 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 $100,000; twenty-one percent (21%) of any amount in excess of $100,000 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.

LIABILITY

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.

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, attribution, completeness, authorship, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind whatsoever is excluded by this paragraph. Items under $1,000 are collated upon request.

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:

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.

a.) to impose a late charge of one and a half percent (1.5%) per thirty (30) days of the total purchase price

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.

b.) to hold the defaulting buyer liable for the total amount due and to begin legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law c.) to cancel the sale d.) to resell the property publicly or privately with such terms as we find appropriate, to resell the property at public auction without reserve, and with the purchaser liable for any deficiency, cost, including handling charges, the expenses of both sales, our commission on both sales at our regular rate, all other charges due hereunder and incidental damages. In addition, a defaulting purchaser will be deemed to have granted us a security interest in, and we may retain as collateral security for such purchaser’s obligations to us, any property in our possession owned by such purchaser. At our option, payment will not be deemed to have been made in full until we have collected funds represented by checks, or in the case of bank or cashier’s checks, we have confirmed their authenticity.

Discretion Any and all of the conditions may be waived or modified in the sole discretion of Leslie Hindman Auctioneers, Inc. 0615

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.

e.) to offset against any amount owed

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LESLIE HINDMAN AUCTIONEERS

BID FORM

fx 312. 28 0.1 21 1 | bid @ lesliehindman .com 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.

408

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 - $100,000 ........................................................... 25% $100,001 - $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 AG O, I L L I N O I S

bid @ lesliehindman . com

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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

L E S L I E H I N D M A N AU C T I O N E E R S december 14, 2015 NO.408

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

american and european art

NO.408