Sale 527 | American and European Art

LESLIE HINDMAN AUCTIONEERS

NO . 527

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

september 27, 2017

leslie hindman auctioneers

lh

American and european art

september 27, 2017

American and European Art

lh

Wednesday 27 September 2017

PREVIEW

FRIDAY 22 september | 10AM – 5PM SATURDAY 23 september | 10AM – 3PM SUNDAY 24 september | 12PM – 4PM MONDAY 25 september | 10AM – 5PM TUESDAY 26 september | 10AM – 5PM auction

WEDNESDAY 27 september | 10:00AM CT Lots 1 – 103 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.

LHLIVE

Cover

Lot 31 | John Marshall Gamble (American, 1863-1957) Spring Morning, 1921

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

lesliehindman.com ©Leslie Hindman Auctioneers, Inc. 2017 CHI CA GO , I L L I N O I S ILLINOIS AUCTION FIRM LICENSE NUMBER 444000295

PROPERTY FROM THE ESTATES OF Jean Buckley, New York, New York Doris B. Holleb, Chicago, Illinois Janet Ingram Kelly, Chicago, Illinois and Santa Barbara, California Dr. Lawrence Rudolph, David City, Nebraska PROPERTY FROM THE trusts OF George and Virginia Ablah, Wichita, Kansas Arthur D. James, Chicago, Illinois PROPERTY FROM THE COLLECTIONS OF Lawrie Bird, Winnetka, Illinois The Denver Art Museum Lawrence Stanley Goldworm, St. Louis, Missouri Fern Grauer, Chicago, Illinois Ana M. Landry, Tucson, Arizona David Mortensen, Barrington, Illinois Edwin M. Roth, Aspen, Colorado Ronna Statland, Lincolnwood, Illinois

Opposite Lot 80 | Doris Emrick Lee, (American, 1905-1983), Sailboats

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Contents American and european art | lots 1 –103 ........................................ 6 artists index ........................................................................................... 90 AUCTION INQUIRIES ................................................................................... 92 CONDITIONS OF SALE ................................................................................ 94 TELEPHONE / ABSENTEE BID FORM ........................................................... 96

Opposite Lot 26 | Childe Hassam, (American, 1859-1935), Nude, 1903

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1*

Dale Nichols (American, 1904-1995), April Snow, 1981 oil on canvas signed Dale Nichols and dated (lower right); titled (verso) 15 x 30 inches.

Property from the Estate of Dr. Lawrence Rudolph, David City, Nebraska

Provenance: The artist Gifted to Ruth Nichols (niece of the artist) Acquired from above by present owner $20,000-40,000

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2

2

Henry Gasser

(American, 1909-1981) The Blue Fence oil on canvas board signed H. Gasser (lower right) 15 1/2 x 20 inches. $1,500-2,500 3*

Bertram Hartman

(American, 1882-1960) Mountain Slopes oil on canvas signed Bertram Hartman (lower right) 29 x 21 inches.

Property from the George and Virginia Ablah Trust, Wichita, Kansas Provenance: Chapellier Galleries, Inc., New York, New York $800-1,200

3

8

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4

4

Robert Kipniss

(American, b. 1931) Large Cloud oil on canvas signed Kipniss (lower left); titled (verso) 36 x 40 inches. $3,000-5,000 5

Alfred Gwynne Morang

(American, 1901-1958) The Blue Ladies oil on board signed Alfred Morang (lower right) 16 x 11 3/4 inches.

Exhibited: Alfred Morang: A RĂŠtrospective Exhibition, Museum of the Southwest, Midland, Texas, 1984 $800-1,200

5

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6

John Stobart

(British, b. 1929) St. Louis River Front in 1876, 1979 oil on canvas signed Stobart and dated (lower right) 26 x 36 inches.

Provenance: Kennedy Galleries, Inc., New York, New York $20,000-40,000

6

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7

Emil James Bisttram (American, 1895-1976) Portrait of a Man, 1920 oil on panel signed Bisttram and dated (lower right) 20 x 15 inches.

Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico $3,000-5,000 8*

Ivan Le Lorraine Albright

(American, 1897-1983) Hopi Indians, 1924 oil on panel signed Ivan Le Lorraine Albright, titled and dated (lower right) 12 1/4 x 16 1/4 inches.

Property from the Estate of Doris B. Holleb, Chicago, Illinois Exhibited: Ivan Albright,The Art Institue of Chicago, February 20-May 11, 1997 $1,000-2,000 7

8

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9*

Frederick Milton Grant

(American, 1886-1959) Women in a Courtyard oil on canvas signed Frederick M. Grant (lower left) 30 x 30 inches.

Property from the Arthur D. James Trust, Chicago, Illinois $2,000-4,000 10

Ralph Albert Blakelock

(American, 1847-1919) Twilight oil on panel signed R A Blakelock (lower left) 6 x 10 1/4 inches.

Note: University of Nebraska, Blakelock Inventory no. 1379 $2,000-4,000

9

10

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11

11

12

(American, 1871-1938) Winter, Gloucester Harbor oil on copper signed Mulhaupt (verso) 11 x 14 inches. $5,000-7,000

(American, 1829-1901) Sunrise on the Coast oil on canvas signed Edward Moran (lower left) 22 x 42 inches. $6,000-8,000

Frederick J. Mulhaupt

Edward Moran

13*

Attributed to John Frederick Kensett

(American, 1816-1872) Niagara Falls oil on canvas laid to panel 13 x 22 inches.

Property sold to benefit the acquisition fund of the Denver Art Museum

Provenance: Bernard Denanberg Galleries, New York, New York $4,000-6,000

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13

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14

14

15

(American, 1860-1910) A Boy and His Dog oil on canvas signed K Witkowski (lower left) 26 x 18 inches.

Property from the Estate of Catherine L. Garvey, Appleton, Wisconsin $4,000-6,000

(American, 1858-1948) Summer Landscape oil on canvas signed F C Peyraud (lower left) 20 x 24 inches. $800-1,200

Karl Witkowski

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Frank Charles Peyraud

16*

Rudolph Frank Ingerle

(American, 1879-1950) Scene in the Great Smokies oil on board signed Rudolph E Ingerle (lower left) 20 x 24 inches.

Property from the Arthur D. James Trust, Chicago, Illinois $800-1,000

15

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18

17*

18

19*

(American, 1864-1939) Autumn Landscape with Haystacks oil on board signed Dawon-Watson (lower right) 5 3/4 x 8 inches.

(American, 1884-1949) Moorland Gorse and Bracken Study oil on canvas signed V Higgins (lower left) 12 1/2 x 14 inches. $3,000-5,000

(American, 1868-1949) Camel’s Hump oil on masonite signed Chauncy F. Ryder (lower right) 16 x 20 inches.

Property sold to benefit the acquisition fund of the Denver Art Museum $800-1,200

Dawson Dawson-Watson

Property from the Collection of Lawrence Stanley Goldworm, St. Louis, Missouri $2,000-4,000

18

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Victor Higgins

Chauncey Foster Ryder

17

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20

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20*

Eanger Irving Couse

(American, 1866-1936) Landscape with Haystacks oil on canvas signed E I Couse (lower left) 13 x 16 inches.

Property from the Private Collection of Ana M. Landry, Tucson, Arizona $3,000-5,000

21

22*

(American, 1849-1925) Landscape pastel on board signed D W Tryon (lower right) 18 3/4 x 24 3/4 inches. $5,000-7,000

(American, 1889-1963) The Model, Nude with Black Cat oil on canvas signed L Ritman (lower left) 32 x 26 inches.

Property from the Arthur D. James Trust, Chicago, Illinois $2,000-4,000

Dwight William Tryon

Louis Ritman

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23

23*

Ernest Lawson

(American/Canadian, 1873-1939) Boats in a Harbor oil on panel signed E. Lawson (lower left) 18 x 24 inches.

Property sold to benefit the acquisition fund of the Denver Art Museum $6,000-8,000

22

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24*

Ernest Lawson

(American, 1873-1939) Landscape, 1935 oil on board signed E. Lawson and dated (verso) 4 x 5 inches.

Property from the Collection of Lawrence Stanley Goldworm, St. Louis, Missouri $3,000-5,000

24

25*

Ernest Lawson

(American, 1873-1939) Colorado Cottonwoods oil on board signed E. Lawson (lower left) 8 x 10 inches.

Property from the Collection of Lawrence Stanley Goldworm, St. Louis, Missouri Provenance: The Patricia Weiner Gallery, Monthomery, Ohio Acquired from the above by the present owner $4,000-6,000

25

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26

Childe Hassam

(American, 1859-1935) Nude, 1903 oil on canvas signed Childe Hassam and dated (lower left) 16 x 12 inches.

Property from an Important Chicago Collection Note: We would like to thank the Hassam catalogue raisonné commitee for their assistance cataloguing this work. This painting will be included in the forthcoming catalogue raisonné of the artist’s work in preparation by Kathleen M. Burnside and Stuart P. Feld. $80,000-120,000

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27*

Hamilton Hamilton

(American, 1847-1928) Spring Meadow oil on canvas signed Hamilton Hamilton NA (lower right) 20 x 24 inches.

Property from the George and Virginia Ablah Trust, Wichita, Kansas Provenance: Chapellier Galleries, Inc., New York, New York $2,000-4,000

27

28*

Lawrence Mazzanovich

(American, 1872-1959) Forest Landscape oil on canvas signed Mazzanovich (lower left) 32 x 39 1/2 inches.

Property from the Collection of Lawrie Bird, Winnetka, Illinois $4,000-6,000

28

26

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29*

Frank Virgil Dudley

(American, 1868-1957) Winds, Waves and Singing Sands oil on canvas signed Frank V. Dudley (lower right) 27 x 30 inches.

Property from the Collection of David Mortensen, Barrington, Illinois Provenance: Chicago Galleries Association (label on verso) $3,000-5,000

29

30*

Frank Virgil Dudley

(American, 1868-1957) Dunes oil on canvas signed Frank V Dudley (lower left) 27 x 30 inches.

Property from the Collection of David Mortensen, Barrington, Illinois $3,000-5,000

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31*

John Marshall Gamble

(American, 1863-1957) Spring Morning, 1921 oil on canvas signed John M. Gamble and dated (lower right); signed and titled (verso) 30 x 40 inches.

Property from the Collection of Lawrie Bird, Winnetka, Illinois $70,000-90,000

31

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32

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32*

Wilson Henry Irvine

(American, 1869-1936) Shoreline oil on canvas signed Irvine (lower right) 35 x 46 inches.

Property sold to benefit the acquisition fund of the Denver Art Museum Provenance: Collection of Jan Irvine, artist’s son

33*

Richard Hayley Lever

(American, 1876-1958) Rooftops oil on canvas signed Hayley Lever (lower left) 23 1/4 x 29 1/4 inches.

Property from the George and Virginia Ablah Trust, Wichita, Kansas $3,000-5,000

34

John Fabian Carlson

(Swedish/American, 1874-1975) Silent Woods oil on canvas signed John F. Carlson (lower right) 12 1/4 x 16 inches. $3,000-5,000

Exhibited: Grand Central Galleries, New York, New York Wadsworth Antheneum, Hartford, Connecticut $3,000-5,000

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35*

Edgar S. Cameron

(American, 1862-1944) Brittany Court Yard oil on board signed E Cameron (lower left) 7 x 11 inches.

Property from the Arthur D. James Trust, Chicago, Illinois $400-600

35

36*

Charles A. Wilimovsky

(American, 1885-1974) Italian Coastal Boat Scene oil on board signed Wilimovsky (verso) 12 x 16 inches.

Property from the Arthur D. James Trust, Chicago, Illinois $600-800

36

37*

John Warner Norton

(American, 1876-1934) Spring at the Farm, 1920 oil on canvas signed John Norton (lower right) 19 x 24 inches.

Property from the Arthur D. James Trust, Chicago, Illinois $600-800

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38*

Francis Chapin

(American, 1899-1965) New England Street Scene oil on board signed Francis Chapin (lower right) 16 x 24 inches.

Property from the Arthur D. James Trust, Chicago, Illinois $400-600

38

39*

Joseph Pierre Birren

(American, 1865-1933) The Federal Group Century of Progress, 1933 oil on board signed Joseph Birren (lower left) 24 x 28 inches.

Property from the Arthur D. James Trust, Chicago, Illinois $800-1,200

39

40*

Tunis Ponsen

(American, 1891-1968) North Branch Chicago River oil on canvas signed Tunis Ponsen (lower right) 24 x 20 inches.

Property from the Arthur D. James Trust, Chicago, Illinois $1,000-2,000

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41*

Frances Foy

(American, 1890-1963) Night Street Scene with Figures oil on board signed France Foy (lower left) 16 x 20 inches.

Property from the Arthur D. James Trust, Chicago, Illinois $400-600 42*

Emil Fuchs

41

(Austrian, 1866-1929) Portrait of a Man, 1927 oil on canvas signed Emil Fuchs and dated (upper right) 30 x 24 inches.

Property from the Collection of David Mortensen, Barrington, Illinois Provenance: Wunderly Galleries, Pittsburgh, Pennsylvania $600-800 43

Henry Ward Ranger

(American, 1858-1916) Morning - Mason Island oil on panel signed HW Ranger (lower left); signed and titled (verso) 12 x 16 inches.

Property from an Important Chicago Collection $800-1,200 44*

Albert H. Krehbiel

(American, 1875-1945) Winter Landscape oil on canvas signed Krehbiel (lower left) 22 x 30 inches.

Property from the Arthur D. James Trust, Chicago, Illinois $2,000-4,000

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45

45

Montague Dawson

(British, 1890-1973) The Pilot Rescued by the British Submarine ‘Mustang’, 1944 oil on masonite signed Montague Dawson (lower left) 14 1/2 x 21 3/4 inches.

Provenance: Northern Pump Company, Minneapolis, Minnesota Minneapolis Institute of Art Sotheby’s New York, October 24, 1989, lot 368 $8,000-12,000

46

Fortunato Arriola

(American, 1827-1872) South American Landscapes, ca. 1866 (a pair of works) oil on panel both signed Fortunato; one dated (lower recto) Both: 10 x 14 inches. $8,000-12,000

36

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46

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47

Fernando Cueto Amorsolo

(Filipino, 1892-1972) Return of the Fisherman, 1958 oil on canvas signed F Amorsolo, marked Manila and dated (lower right) 22 x 30 inches.

Provenance: Collection of Joseph Thomas Sr., of Manila Electric and Railroad Company Thence by descent $20,000-40,000

47

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48

Hughes Claude Pissarro (French, b. 1935) Le retour des terres Neuves à Granville pastel on paper signed H. Claude Pissarro. (lower left); titled (verso) 10 x 14 1/2 inches. $2,000-4,000

49

Paul-Emile Pissarro

(French, 1884-1972) L’orne à Cantepie oil on canvas signed Paul Emile. Pissarro. (lower right) 18 x 21 1/2 inches. $4,000-6,000

50

Yolande Ardissone

(French, b. 1927) St Cado Pont Lorois oil on canvas signed Ardissone (lower left); titled (stretcher) 16 x 18 inches.

Provenance: Wally Findlay Galleries (label on verso) $1,000-2,000

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51

51*

Maximilien Luce

(French, 1858-1941) Scène du lac oil on canvas signed Luce (lower left) 21 1/2 x 29 inches.

Provenance: Sotheby’s Parke-Bernet Galleries, Inc., New York, April 7, 1973, lot 64 Acquired from above by a New York Collector Thence by decent to present owner $12,000-18,000

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52*

Paul Elie Gernez

(French, 1888-1948) Rue de village et maisons Bretagne oil on canvas signed P E Gernez (lower right) 24 x 29 inches. $5,000-7,000

52

53

Paul Madeline

(French, 1863-1920) Les chĂŞnes verts noirmoutiers oil on canvas signed P Madeline (lower right) 21 1/2 x 25 1/2 inches.

Provenance: Galerie Jean Tiroche, Inc., New York, New York Acquired from above by a New York Collector, 1970 Thence by decent to present owner $4,000-6,000

53

54*

François Cachoud (French, 1866-1943) House in Moonlight oil on canvas signed F Cachoud (lower right) 29 x 36 inches. $2,000-4,000

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55

Charles François Daubigny

(French, 1817-1878) Le labours, Auvers, 1873 oil on panel signed Daubigny and dated (lower right) 7 3/8 x 13 7/8 inches.

Provenance: Sotheby’s, New York, October 29, 1987, lot 235 Sotheby’s, New York, January 29, 2005, lot 226 Galerie Michael, Beverly Hills, California Acquired by the present owner from the above Note: Accompanied by a copy of Barbizon, Journey to Impressionism by Galerie Michael, 2007. $10,000-15,000

56

Narcisse Virgile Diaz de la Peña

(French, 1808-1876) Landscape, 1872 oil on panel signed N. Diaz and dated (lower left) 21 1/4 x 26 1/4 inches. $6,000-8,000 57

Narcisse Virgile Diaz de le Peña

(French, 1808-1876) Landscape with Figure , 1872 oil on panel signed N Diaz and dated (lower right) 11 x 15 1/2 inches. $2,000-4,000

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59

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58

Eugène Boudin

(French, 1824-1898) Sur la plage, 1870 watercolor and pencil on paper signed l E B and dated (lower right) 11 x 5 inches.

Provenance: Wildenstein & Co., Inc., New York Exhibited: Exposition Eugène Boudin, Galerie Schmit, Paris, 1965 $6,000-8,000

59*

Antoine Bouvard

(French, 1870 - 1956) Venetian Scene with Gondoliers oil on canvas signed Bouvard (lower right) 20 x 26 inches.

Property from the Collection of Fern Grauer, Chicago, Illinois Provenance: William H. Hoops and Company, Chicago, Illinois Acquired from the above, October 7, 1960 $3,000-5,000

60*

Gerrit V. Sinclair

(American, 1890-1955) Pointe Royale - Paris, 1930 oil on canvas signed G Sinclair (upper right) 26 x 33 inches.

Property from the Arthur D. James Trust, Chicago, Illinois $800-1,200

60

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61

Edouard Léon Cortès (French, 1882-1969) La Porte Saint-Denis, Paris oil on canvas signed Edouard Cortès (lower right) 15 x 18 inches.

Property from the Estate of Jon Hering Senior, Milwaukee, Wisconsin $10,000-20,000

61

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62

62*

Antoine Blanchard

(French, 1910-1988) Paris, Rue de la Paix oil on canvas signed Antoine Blanchard (lower left) 13 1/4 x 18 1/8 inches.

Property from the Estate of Jean Buckley, New York, New York Note: We would like to thank Rehs Galleries, Inc. for issuing a certificate of authenticity, which will accompany this lot. $4,000-6,000

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63

63

Edouard Léon Cortès (French, 1882-1969) Place Vendome in the Rain oil on canvas signed Edouard Cortès (lower right) 15 x 18 inches.

Property from the estate of Raymond and Marilyn Martin, Milwaukee, Wisconsin. $10,000-20,000

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64

Edouard Léon Cortès (French, 1882-1969) Avenue de l’Opéra oil on canvas signed Edouard Cortès. (lower right) 13 x 18 inches.

Provenance: Wally Findlay Galleries $10,000-20,000

64

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65*

Jean Dufy

(French, 1888-1964) Course Ă la Roche Paris oil on canvas signed Jean Dufy (lower right); titled (stretcher) 13 x 22 inches.

Property from the Estate of Janet Ingram Kelly, Chicago, Illinois and Santa Barbara, California Note: We would like to thank Jacques Bailly for confirming the authenticity of this work which will be included in the forthcoming catalogue raisonnĂŠ. This work is accompanied by a certificate of authenticity, no. 4622. $50,000-70,000

65

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66

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66*

Jean Dufy

(French, 1888-1964) Untitled, October 3, 1921 graphite on paper signed Jean Dufy and dated (lower left) 9 7/8 x 12 3/4 inches.

Property from the Collection of Edwin M. Roth, Aspen, Colorado $1,000-2,000

67*

Maurice Utrillo

(French, 1883-1955) Église de Saint-Bernard pastel on paper signed Maurice Utrillo, V, (lower right); titled (lower left) 9 1/2 x 12 inches.

Property from the Estate of Cynthia Patterson, Northfield, Illinois

68

Achille-Émile Othon Friesz

(French, 1879-1949) Nature morte aux poires oil on canvas signed É. Othon Friesz (lower right) 13 x 18 inches. $3,000-5,000

Provenance: Findlay Galleries, Inc., Chicago, no. 26928 $6,000-8,000

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69*

Bernard Buffet

(French, 1928-1999) White Vase on Yellow Background, 1959 oil on paper laid to panel signed Bernard Buffet and dated (lower right) 25 3/4 x 20 inches.

Property from the Estate of Janet Ingram Kelly, Chicago, Illinois and Santa Barbara, California Provenance: Findlay Galleries, Chicago, Illinois $40,000-60,000

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69

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70

Michel Henry

(French, b. 1928) Mer retirĂŠe oil on canvas signed Michel Henry (lower right); titled (stretcher) 9 1/2 x 7 1/2 inches.

Provenance: Findlay Galleries, Chicago, Illinois, no. 45822 $800-1,200 71

Fernand Renard

(French, b. 1912) Coquillages oil on canvas signed Renard (lower right) 22 x 15 inches. $2,000-4,000

70

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72*

Claude Venard

(French, 1913-1999) Le Port de Marseilles oil on canvas signed C. Venard (lower right) 29 1/2 x 29 1/2 inches.

Property from the George and Virginia Ablah Trust, Wichita, Kansas $4,000-6,000 73

Gaston SĂŠbire

(French, 1920-2001) Coin de plage oil on canvas signed G SĂŠbire (lower right); signed and titled (verso) 20 x 24 inches.

Provenance: Wally Findlay Galleries, no. 51126 $2,000-4,000

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74

Jean-Gabriel Domergue

(French, 1889-1962) Portrait of a Lady oil on canvas signed Domergue (lower left) 16 x 13 inches. $2,000-4,000

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Jean-Gabriel Domergue

(French, 1889-1962) Portrait of a Lady oil on canvas signed Domergue (lower left) 18 x 15 inches. $2,000-4,000

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76

John C. Terelak

(American, b. 1942) Winter Apples, 1990 oil on canvas signed J C Terelak and dated (lower right) 30 x 40 inches. $5,000-7,000

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77*

78*

(French/Vietnamese, 1907-2001) Fleurs oil on canvas signed Le Pho (lower right) 32 x 39 1/2 inches.

Property from the Estate of Cynthia Patterson, Northfield, Illinois

(French/Vietnamese, 1907-2001) Le vase bleu oil on masonite signed Le Pho (lower right); titled (verso) 24 x 18 inches.

Property from the Estate of Cynthia Patterson, Northfield, Illinois

Provenance: Wally Findlay Galleries, New York, no. 42264 $10,000-15,000

Provenance: Wally Findlay Galleries, New York, no. 22187 $8,000-12,000

Le Pho

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Le Pho

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79*

Grace Ravlin

(American, 1885-1956) Arab on a Mule oil on canvas signed Ravlin (lower right) 24 x 22 inches.

Property from the Arthur D. James Trust, Chicago, Illinois $2,000-4,000 80

Doris Emrick Lee

(American, 1905-1983) Sailboats oil on canvasboard signed Doris Lee (lower right) 18 x 24 inches.

Property from a Private Collection, Winnetka, Illinois $2,000-4,000

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81

Jean Jansem

(French, 1920-2013) Seated Lady oil on canvas signed Jansem (lower left) 39 1/2 x 32 inches. $8,000-12,000

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82

Nicola Simbari

(Italian, 1927-2012) Woman on Beach with Boat oil on canvas signed Simbari (lower right) 35 x 38 3/4 inches. $3,000-5,000

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83

Nicola Simbari

(Italian, 1927-2012) Woman with Basket on Head oil on canvas signed Simbari (lower right) 35 1/8 x 38 3/4 inches. $3,000-5,000

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84

84*

Nicola Simbari, (Italian, 1927-2012), Jenny au parasol rouge oil on canvas signed Simbari (lower right) 30 x 40 inches.

Property from the Collection of Ronna Statland, Lincolnwood, Illinois Provenance: Wally Findlay Galleries, no. 65640

Note: Accompanied by a signed copy of Simbari by Simon and Schuster, New York, 1975, including a color lithograph of A Boy, Wall, 1975 (illustrated pg. 207). $4,000-6,000

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85

85

Nicola Simbari

(Italian, 1927-2012) Sorrento oil on canvas signed Simbari (lower right) 23 1/2 x 31 1/2 inches.

Provenance: Wally Findlay Galleries, no. 75095 $4,000-6,000

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86

Nicola Simbari

(Italian, 1927-2012) Le Drugstore, 1974 oil on canvas signed Simbari (lower right) 31 x 31 inches.

Provenance: Wally Findlay Galleries, no. 47895 $3,000-5,000

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87

Giuseppe Dangelico Pino

(American, 1939-2010) Silent Contemplation oil on canvas signed Pino (lower right) 40 x 40 inches. $10,000-15,000

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88

88

Giuseppe Dangelico Pino

(American, 1939-2010) Mother and Child oil on canvas signed Pino (lower left) 40 x 60 inches. $10,000-15,000

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89

89*

90

(British, 1864-1937) Woman Seated in Interior, 1930 oil on canvas signed Harrington Mann and dated (lower right) 29 1/2 x 24 1/4 inches.

Property from the George and Virginia Ablah Trust, Wichita, Kansas $2,000-4,000

(British, b. 1920) Hotel Elizabeth ll (Brushing Hair) oil on panel signed BD (lower left); titled (verso) 14 x 16 inches. $1,000-2,000

Harrington Mann

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Bernard Dunstan

91

Bernard Dunstan

(British, b. 1920) The See-Through Dress oil on panel signed BD (lower left); titled (verso) 16 x 14 inches. $1,000-2,000

90

91

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92

92

Eastman Johnson

(American, 1824-1906) Portrait of Princess Marie of Holland, Daughter of Prince Frederick, 1874 oil on board signed E. Johnson and dated (lower left) 22 1/2 x 19 inches.

Note: We would like to thank Dr. Patricia Hills for confirming the authenticity of this painting, which will be included in the forthcoming catalogue raisonnÊ of the artist’s work. This lot will be accompanied by a letter of authenticity. $30,000-50,000 74

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93

Charles Sprague Pearce

(American, 1851-1914) Mother and Child oil on canvas signed Charles Spargue Pearce and marked Paris (lower right) 36 x 28 1/2 inches.

Property from the Collection of Henry Fay Mixter and Clara Fowler Mixter, Boston, Massachusetts, Exeter, New Hampshire and Milwaukee, Wisconsin $10,000-15,000

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Winslow Homer Coming Through the Rye, 1867

Coming Through the Rye, which is inscribed at lower right, “Homer/Paris 1867,” is one of two very similar paintings of a standing woman holding a branch of blossoms in a field of rye that Winslow Homer painted in France in 1867. Both paintings were known by the same title, and the similarity of the two works makes it difficult to know which one was shown in early exhibitions, although most likely it was this one, the more finished of the two, and thus the more likely to placed on public view. Lot 94 has more detail in the handling of the woman’s dress, a more fully resolved background, and more complex handling of the stalks of grain in the foreground, which set off the figure. The other version, now in the permanent collection at the Figge Art Museum in Davenport, Iowa, is broader and rougher in overall effect.

Homer appears to have shown this version of the painting at a reception held at the Tenth Street Studio Building on March 27, 1873, and most likely sold it a few months later at an auction held at the Somerville Art Gallery on May 5-6, 1873. A few years later it belonged to Edward Brown of New York, described in the New York Daily Graphic as a “well known as an art connoisseur and expert,” who sold it in New York at the Kurtz Gallery, in an auction of one-hundred-and-thirty paintings he owned in February 1878. At that point, there is a gap in the provenance until the painting reappeared in the private collection of J. F Harral of Aurora, Illinois.

There are some brief mentions of Coming Through the Rye which most likely refer to this picture 76

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in early newspaper accounts at the time of the Somerville auction, including one in the Daily Graphic (April 22, 1873) which describes it as “a pretty bit of color,” and one in the Arcadian (May 1, 1873) which describes the girl as “ephemeral, unreal, but angelic,” and categorizes the painting as “pre-Raphaelitism gone wild.”

At the time he created this work, Homer had a reputation as an illustrator, but was still struggling to find his way as a painter, and this painting richly illuminates his struggle to reconcile different artistic approaches. While early writers such as William Howe Downs and Lloyd Goodrich liked to portray Homer as entirely self-taught, thorougly American, and immune to foreign influences, it’s quite clear that at this early stage of his career he was profoundly influenced by French paintings of the Barbizon school—which he learned about from his friend John La Farge, who became a lifelong friend in this period. Coming from a French family, La Farge closely followed artistic developments in France. He had also studied in Newport with William Morris Hunt, who in turn had studied in France with both Thomas Couture and Jean-Francois Millet, and was the owner of Millet’s masterpiece, The Sower. Homer was clearly fascinated by the broad handling of form and bold brushwork (based on the French artists that they admired) that La Farge and Hunt introduced into American painting in this period. Interestingly, La Farge owned several of the small paintings that Homer made in France, which very likely Homer bestowed on him as a gift, evidence of their close contact in the years around 1867.

One of the things that clearly fascinated Homer in this period and reflects the influence of La Farge and Hunt, was the simplification of form into flat patterns, as is evident in his broad, rather flat handling of the figure in this painting. One of the most striking examples of this effect is John La Farge’s Portrait of the Artist of 1859 (Metropolitan Museum of Art), a painting that Homer surely knew well, and which surely was one of his models.

Essentially, rather than fully articulating the form, as in Renaissance paintings, advanced modern artists, among them La Farge and Homer, had discovered that in natural light large areas of form are often difficult to read clearly, and the eye sees them as flat patterns. Other paintings from Homer’s trip to France are even closer in effect to La Farge’s example, such as Flowers of the Field (Private Collection), which sets the figure against a hillside in a fashion strikingly similar to La Farge’s self-portrait.

Somewhat incongruously, along with modern French influences, Homer was also interested in English pre-Raphaelite work, as suggested by the contemporary critic who described this piece as “pre-Raphaelitism gone wild.” But here a distinction should be made between two modes of painting that were given the label “pre-Raphaelite.”

In America, there was a group of so-called preRaphaelites, several of them transplants from England, who followed John Ruskin’s advice and made close-ups of nature with meticulous detail, so that every blade of grass was individually portrayed. These American-based painters worked mostly on a small scale and in watercolor.

In England, on the other hand, a group of painters also known as “pre-Raphaelites” produced large oil paintings with monumental figures. These often featured romantic images of women with long hair, often in a medieval setting. Homer clearly rejected the meticulous approach of the American group, but was interested in the romantic, dramatic way that the English pre-Raphaelites portrayed women.

Paintings by these English masters were rarely shown in America in this period, but their work was widely disseminated through book illustration.

Once again, John La Farge probably influenced Homer’s interest in European developments, since in this period La Farge was producing fantasy illustrations influenced by the English pre-Raphaelites for publications such as The Riverside Magazine, the first American children’s magazine. La Farge subscribed to illustrated English publications which were not easy to

obtain, such as Once a Week. As noted by the anonymous reviewer in the Arcadian, Homer’s figure in this painting echoes pre-Raphaelite examples, although it is far more broadly painted.

Significantly, it establishes a statuesque, columnar way of portraying women that Homer often repeated later in his career, though often setting them not in a field but on the shore looking out to sea.

The title “Coming Through the Rye” is drawn from a poem by Robert Burns, describing a woman who is captured by a lover while coming through a field of rye. But while Burns’ poem is somewhat bawdy–and downright obscene in a naughty variant–Homer’s woman hold her hands in a defensive posture, as if protecting her virginity, and her eyes are downcast, as if avoiding social contact. Nonetheless, the title makes explicit a romantic undercurrent to the painting, which was surely a large part of its appeal to 19th century viewers. Very likely the woman’s seeming uncertainty about whether to engage in romance, and her protectiveness of her chastity, would only have added to her allure to men of the Victorian period.

Henry Adams Art Historian Comin Thro’ The Rye O, Jenny’s a’ weet, poor body, Jenny’s seldom dry: She draigl’t a’ her petticoatie, Comin thro’ the rye!

Comin thro’ the rye, poor body, Comin thro’ the rye, She draigl’t a’ her petticoatie, Comin thro’ the rye!

Gin a body meet a body Comin thro’ the rye, Gin a body kiss a body, Need a body cry?

Gin a body meet a body Comin thro’ the glen, Gin a body kiss a body, Need the warl’ ken?

Gin a body meet a body Comin thro’ the grain; Gin a body kiss a body, The thing’s a body’s ain.

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Winslow Homer, (American, 1836-1910), Coming Through the Rye, 1867 oil on canvas signed Homer / Paris and dated (lower right) 16 3/4 x 11 5/8 inches.

Property from an Important Chicago Collection Provenance: Somerville Art Gallery, 5-6 May 1873, no. 64 J. F. Harral, Aurora, Illinois, nd Acquired from the above, Private Collection, 1944 Thence by descent to present owner Exhibited: Artists’ Reception, Tenth Street Studio Building, New York, 27 March 1873 Rufus Ellis Moore, New York, 26 April-6 May, 1873, no. 64 Edward Brown, New York, c. 19-26 February, 1878, no. 11 (exhibited at Kurtz Gallery)

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Literature: Reception in the Tenth Street Studio Building, (NY) Evening Post, 28 March, 1873 Art Notes, (NY) Daily Graphic, 22 April, 1873 Pictures at the Sommerville Gallery, The Arcadian I (1 May 1873): 10 The Fine Arts. The American Collection in the Sommerville Gallery, The Best Works by Our Best Artists, New York Times, 3 May 1873 Fine Arts, (NY) World, 4 May 1873 The Drama and Art, New York Daily Tribune, 6 May 1873 Pictures at the Kurtz Gallery, An Array of Art Works to Be Disposed of at Public Sale, (NY) Daily Graphic, 20 February, 1878 Lloyd Goodrich and Abigail Booth Gerdts, Record of works by Winslow Homer, Volume II: 1867-1876, p. 51, no. 305 (illustrated) $400,000-600,000

95

95

Daniel Ridgway Knight, (American, 1839-1924), An Idle Moment oil on canvas signed Ridgway Knight and marked Paris (lower right) 32 x 26 inches.

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Note: We would like to thank Howard L. Rehs for confirming the authenticity of this work, which will be included in his forthcoming Daniel Ridgway Knight catalogue raisonnĂŠ.

A certificate of authenticity will accompany this lot. $50,000-70,000

96

96

Daniel Ridgway Knight, (American, 1839-1924), Captivite, 1874 oil on canvas signed D R Knight / Paris and dated (lower left) 39 1/2 x 32 inches.

Note: We would like to thank Howard L. Rehs for confirming the authenticity of this work, which will be included in his forthcoming Daniel Ridgway Knight catalogue raisonnĂŠ.

A certificate of authenticity will accompany this lot. $40,000-60,000 view th e c atalog ue on l i n e at l e s l i e h i n dm a n .c om

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97

Harriet Whitney Frishmuth

(American, 1880-1980) Crest of the Wave, 1925 bronze on marble base inscribed HARRIET W FRISHMUTH and dated (base); stamped GORHAM CO FOUNDERS and marked OFHL Height: 20 3/8 inches.

Property from a Private St. Louis Collection $8,000-12,000

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98

99

98*

99

(French, 1865-1937) Reclining Nude pastel and charcoal on paper signed H Lebasque (lower right) 12 x 17 3/4 inches.

(Russian/American, 1896-1977) Three Bathers, 1927 graphite on paper signed William S. Schwartz (lower right) 18 1/8 x 21 5/8 inches. $1,000-2,000

Henri Lebasque

William Samuel Schwartz

Provenance: Galerie Jean Tiroche, Inc., New York, New York Acquired from above by a New York Collector, 1970 Thence by decent to present owner $1,000-2,000

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84

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100

Charles Hoffbauer

(American/French, 1875-1957) DĂŽner sur le toit, 1905 oil on canvas signed C Hoffbauer and dated (lower right) 14 1/2 x 20 inches.

Property from a Private St. Louis Collection $40,000-60,000

100

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101

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102

102

101

Conrad Kiesel

(German, 1846-1921) Portrait of a Lady oil on canvas signed C. Kiesel (lower left) 22 x 16 1/2 inches.

Property from a Private Collector, Chicago, Illinois $4,000-6,000

Louis Joseph Raphael Collin

(French, 1850-1916) Floreal, 1886 oil on canvas signed R. Collin Paris and dated (lower left) 32 1/4 x 51 1/4 inches.

Property from a Private Collector, Chicago, Illinois $6,000-8,000

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103

Elizabeth Jane Gardner Bouguereau, (American, 1837-1922) Cornelia and her Jewels, 1870

oil on canvas laid to board signed E. J. Gardner, Paris and dated (lower right) 32 1/2 x 40 3/4 inches.

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Note: We would like to thank Charles Pearo, Ph.D for confirming the authenticity of this lot, which will be included in the forthcoming catalogue raisonnĂŠ of the artists work. $30,000-50,000

Elizabeth Jane Gardner Cornelia and Her Jewels, 1870 Elizabeth Jane Gardner (1837-1922) had one of the most successful careers of any American expatriate artist living in Paris during the second half of the 19th century. A native of Exeter New Hampshire, she arrived in the capital in 1864, well before the great wave of Americans who came in the late 1870s through the 1890s. From her first Paris Salon exhibition in 1868, until her marriage in 1896 with the very distinguished Academic painter William Bouguereau (1825-1905), she exhibited in every yearly Salon, except during the troubled years of the Franco-Prussian War and the Commune (1871, 1872, 1873). All total, Gardner exhibited 36 works at the prestigious venue, making her one of the most recognized artists of the American Colony in Paris. In addition, she received an Honorable Mention in 1879 (At the Fountain), and the coveted bronze medal in 1887 (The Farmer’s Daughter). She is the only American woman painter to have ever achieved that distinction.

Cornelia and Her Jewels, 1870, is a work based on an anecdote from ancient Roman history that serves to idealize the humble and ennobling values of motherhood.

Cornelia was from a family of position, yet she dressed simply and without ornaments. She oversaw and encouraged the education of her children rather than yielding to the vain privileges of society. In the scene Gardner chose to depict, one of her wealthy friends has laid out her many pieces of jewelry before her, and asks Cornelia if she has none of her own. To this, the noble Cornelia pointed to her children and responded, “These are my jewels.”

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This work attests to the fact that Elizabeth Gardner set her sights on the male-dominated genre of figure and history painting very early in her career. As such, it’s an important contribution to the history of American expatriate art.

It will be included in my forthcoming catalogue raisonné on the artist.

Charles Pearo, Ph.D Art Historian

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artist’s index

lot

Albright, Ivan Le Lorraine .............. 8 Amorsolo, Fernando Cueto ......... 47 Ardissone, Yolande ..................... 50 Arriola, Fortunato ........................ 46 Birren, Joseph Pierre .................. 39 Bisttram, Emil James .................... 7 Blakelock, Ralph Albert ............... 10 Blanchard, Antoine ..................... 62 Boudin, Eugene .......................... 58 Bouguereau, Elizabeth .............. 103 Bouvard, Antoine ........................ 59 Buffet, Bernard ........................... 69 Cachoud, Francois ..................... 54 Cameron, Edgar S. ..................... 35 Carlson, John Fabian .................. 34 Chapin, Francis .......................... 38 Collin, Louis Joseph Raphael .............. 102 Cortes, Edouard Leon .... 61, 63, 64 Couse, Eanger Irving .................. 20 Daubigny, Charles Francois ........ 55 Dawson, Montague .................... 45 Dawson-Watson Dawson ........... 17 de la Pena, Narcisse Virgile Diaz ............. 56, 57 Domergue, Jean Gabriel ....... 74, 75 Dudley, Frank Virgil ............... 29, 30 Dufy, Jean ............................ 65, 66 Dunstan, Bernard ................. 90, 91 Foy, Frances ............................... 41 Friesz, Achille-Emile Othon ......... 68 Frismuth, Harriet Whitney ........... 97 Fuchs, Emil ................................. 42 Gamble, John Marshall ............... 31 Gasser, Henry ............................... 2 Gernez, Paul Elie ........................ 52 Grant, Frederick Milton ................. 9 Hamilton, Hamilton ..................... 27 Hartman, Bertram ......................... 3 Hassam, Childe .......................... 26 Henry, Michel .............................. 70 Higgins, Victor ............................ 18 Hoffbauer, Charles Constantine.. 100 Homer, Winslow ......................... 94 Ingerle, Rudolph Frank ................ 16

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Irvine, Wilson Henry .................... 32 Jansem, Jean ............................. 81 Johnson, Eastman ...................... 92 Kensett, John Frederick .............. 13 Kiesel, Conrad .......................... 101 Kipniss, Robert ............................. 4 Knight, Daniel Ridgway ......... 95, 96 Krehbiel, Albert H. ...................... 44 Lawson, Ernest ..................... 23-25 Le Pho .................................. 77, 78 Lebasque, Henri ......................... 98 Lee, Doris Emrick ....................... 80 Lever, Richard Hayley ................. 33 Luce, Maximilien ......................... 51 Madeline, Paul ............................ 53 Mann, Harrington ........................ 89 Mazzanovich, Lawrence ............. 28 Moran, Edward ........................... 12 Morang, Alfred Gwynne ................ 5 Mulhaupt, Frederick, J. ............... 11 Nichols, Dale ................................ 1 Norton, John Warner .................. 37 Pearce, Charles Sprague ............ 93 Peyraud, Frank Charles .............. 15 Pino, Giuseppe Dangelico .... 87, 88 Pissarro, Claude Hughes ............ 48 Pissarro, Paul Emile .................... 49 Ponsen, Tunis ............................. 40 Ranger, Henry Ward ................... 43 Ravlin, Grace .............................. 79 Renard, Fernand ......................... 71 Ritman, Louis ............................. 22 Ryder, Chauncey Foster ............. 19 Sebire, Gaston ........................... 73 Schwartz, William Samuel ........... 99 Simbari, Nicola ...................... 82-86 Sinclair, Gerrit V. .......................... 60 Stobart, John ............................... 6 Terelak, John C. .......................... 76 Tryon, Dwight William ................. 21 Utrillo, Maurice ............................ 67 Venard, Claude ........................... 72 Wilimovsky, Charles A. ................ 36 Witkowski, Karl ........................... 14

Auction Inquiries | fine art DEPARTMENT

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OFFICE OF THE PRESIDENT Leslie S. Hindman President and CEO 312.280.1212 Adam Spender Executive Assistant 312.334.4201

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LESLIE HINDMAN AUCTIONEERS u p co m ing a u c t ion sched u le

527 | american and european art september 27 | chicago

533 | modern design november 14 | chicago

528 | post war and contemporary art september 28 | chicago

542 | palm beach collections november 30 | palm beach

529 | fine prints september 28 | chicago

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530 | fine furniture, decorative arts and silver october 16 – 17 | chicago

537 | luxe holiday december 5 | palm beach consignment deadline october 6

531 | interiors october 19 – 20 | online only

532 | fine books and manuscripts december 6 | chicago consignment deadline october 6

525 | luxury accessories and couture october 25 | chicago

538 | post war and contemporary art, fine prints december 13 | chicago consignment deadline october 13

519 | arts of the american west november 5 | denver

540 | american and european art december 14 | chicago consignment deadline october 13

545 | classic glass november 13 | online only

548 | outsider and folk art december 15 | chicago consignment deadline october 13

This schedule is subject to change. Changes can be found at lesliehindman.com

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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.

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

Guide for Prospective Buyers

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.

Conditions of Sale

Tax Exempt Notice

Exhibitions

Driving Directions/Parking

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

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.

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

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.

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a m e r i can and e ur opean ar t

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.

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.

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 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. 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.

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

Purchased Lots

If for any reason a purchased lot cannot be delivered in the same condition as at the time of sale, or should any purchased lot be stolen, mis-delivered or lost prior to delivery, 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.

2017

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95

leslie hindman auctioneers CHICAGO | atlanta | DENVER

bid form

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

fx 312. 280. 12 1 1 | b id @ l e s li ehindm an. 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.

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:

527

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

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

$500 - $1,000 ..................................... $50 $1,000 - $2,000 ................................... $100 Business Name $2,000 - $5,000 ................................... $200 $5,000 - $10,000 ................................. $500 Billing Address $10,000 - $20,000 .............................. $1,000 $20,000 - $50,000 .............................. $2,000 $50,000 - $100,000 ............................ $5,000 City State $100,000 - $200,000 .......................... $10,000

Over > $200,000 .... Auctioneer’s Discretion Country/Zip Name

Sale Number

Contact Name

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.

Primary Phone

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.

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

Signature Date

Leslie Hindman Auctioneers, Inc. is not responsible for failure or other inadvertent errors relating to the execution of your bids.

For Leslie Hindman AUCTIONEERS, INC.

Date

$0 - $100,000 .......................................... 25% $100,001 - $1,000,000 ............................ 20% $1,000,001 + ............................................ 12%

First time bidders please provide a valid credit card and one of the following: Passport / Driver’s License / National Identity Card Lot Number

PHONE BID

Absentee Bid

LOT DescriPtion

US Dollar Limit

EXCLUDES BUYER’S PREMIUM

PLEASE CHECK

Back-up Bid

FOR TELEPHONE BIDDERS ONLY

How did you hear about Leslie Hindman Auctioneers?

LHLIVE 1 3 3 8 w e ST L A K E ST R EET ph 312.280.1212

|

fx 312.280.1211

|

CHICAGO, ILLINOIS

60607

b id @ l e s li e hind m an . co m

|

l e s li e hind m an . co m

LESLIE HINDMAN AUCTIONEERS

NO . 527

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

september 27, 2017

leslie hindman auctioneers

lh

American and european art

september 27, 2017