Sale 747 | American and European Art

AM E RIC A N AND EU ROPEA N ART 5 | 20 | 2020

AMER ICAN AN D EURO PEAN ART Wednesday May 20 | Chicago 10AM CT | Live + Online

AUCTION WEDNESDAY MAY 20 | 10AM CT LOTS 1-98 P RO P E R T Y P I C K U P H O U R S MONDAY – FRIDAY | 9:00AM – 4:30PM

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

VIEW THE COMPLETE CATALOGUE AT HINDMANAUCTIONS.COM Photography Zoë Bare Alexandria Dreas Jason Mitchell Bill Ross Brodie Sturm

Cover Lot 13 | Jean Théodore Dupas (French, 1882–1964) Untitled, 1914 Inside Front Cover Lot 20 | Pierre-Auguste Renoir (French, 1841-1919) Etude pour La Bergere, La Vache, La Brebis, c. 1885 Inside Back Cover Lot 29 | Mané-Katz (French/Ukrainian, 1894–1962) Bowl of Irises, 1935

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CO N T E N T S AUCTION 747 | LIVE + ONLINE WEDNESDAY MAY 20 | 10AM CT EUROPEAN ART

LOTS 1-55

AMERICAN ART

LOTS 56-98

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ARTIST INDEX

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AUCTION INQUIRIES

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CONDITIONS OF SALE

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TELEPHONE / ABSENTEE BID FORM

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Lot 97 | Alexis Jean Fournier (American, 1865-1948) Spring Lambs, c. 1915

P RO P E R T Y F RO M T H E C O L L E C T I O N S O F WC ALLAN, GLENWOOD, IOWA THE ART INSTITUTE OF CHICAGO MR. AND MRS. RICHARD AND JANE BIRKENESS, LIBERTY, MISSOURI KENNETH AND SHIRLEY BUTLER, CHICAGO, ILLINOIS ROBERTA CZACHOR, SEDONA, ARIZONA FOX COLLECTION, ELM GROVE, WISCONSIN NORENE GOLDSTEIN, CHICAGO, ILLINOIS IMPORTANT PRIVATE COLLECTION OF MODERNIST WEST ART SARI AND JAMES KLEIN, CHICAGO, ILLINOIS DAVID MUNGENAST, MILWAUKEE, WISCONSIN PRIVATE MIDWEST COLLECTION WILLIAM DENT REICHMANN, BARRINGTON HILLS, ILLINOIS

P RO P E R T Y F RO M T H E E S TAT E S A N D T R U S T S O F MARGE EWERS, NASHVILLE, TENNESSEE HELEN AND JACK HALPERN, CHICAGO, ILLINOIS STANLEY MICHAEL MEYLER, EVANSTON, ILLINOIS JOHN REISS, MILWAUKEE, WISCONSIN DOROTHY F. ROSS, CHAGRIN FALLS, OHIO

Opposite Lot 80 | William Trost Richards (American, 1833-1905) Crashing Waves, 1885

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Opposite Lot 54 | Joan Mirรณ (SPANISH, 1893-1983) Untitled, 1957

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William Alexander Meyerheim

Henry Dawson

James Ward

Waterfront Village Scene

Untitled (The Country Lane)

Untitled (Two Figures and Dog)

oil on canvas signed W. Meyerheim (lower left) 27 x 38 inches.

oil on canvas signed H Dawson (lower left) 24 ¼ x 36 inches.

oil on panel signed illegibly (lower right) 9 ½ x 11 ¼ inches.

Exhibited: Jewish Council on Urban Affairs, Chicago

$1,000-$2,000

Property from the collection of Sari and James Klein, Chicago, Illinois

(GERMAN, 1815-1882)

$2,000-$4,000

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AMERICAN AND EUROPEAN ART

(BRITISH, 1811-1878)

(BRITISH, 1769-1859)

$2,000-$4,000

EUROPEAN ART

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Francesco Bergamini (ITALIAN, 1815-1883)

School Tuition oil on canvas signed Bergamini (lower right) 20 ¼ x 32 ¼ inches.

Provenance: Chev. Alex. d’Atri & Sons, Rome $2,000-$4,000

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Bernard de Hoog (DUTCH, 1867-1943)

Peaceful Afternoon 5

oil on canvas signed Bernard de Hoog (lower left) 31 x 37 1/2 inches.

Property from the Collection of Norene Goldstein, Chicago, Illinois Provenance: Continental Galleries of Fine Art, Montreal Dominion Gallery, Montreal $2,000-$4,000

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David Emile Joseph De Noter

Gyula Tornai

Woman with Bird

Portrait of a Girl, 1892

oil on panel signed David der Noter (lower right); inscribed (lower left) 24 ¾ x 20 ½ inches

oil on canvas signed Tornai GY and dated (lower left) 78 x 38 ½ inches.

Provenance: Albanus L. Smith, Philadelphia, 1867

$4,000-$6,000

(BELGIAN, 1825-1892)

(HUNGARIAN, 1861-1928)

$2,000-$4,000

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Charles Green (BRITISH, 1840-1898)

Come In, 1877 oil on canvas signed C. Green and dated (lower left); titled (verso) 18 ¼ x 14 ¼ inches.

Exhibited: London, Royal Academy, 1877, Gallery III, no. 234 $2,000-$4,000

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Wilfrid Constant Beauquesne (FRENCH, 1847-1914)

The Death of Sister Claire, c. 1889 oil on canvas signed W. Beauquesne (lower left) 15 3/8 x 18 1/4 inches.

Property from The Art Institute of Chicago Provenance: George F. Harding, Jr., Chicago, by 1939 Transferred to the George F. Harding Museum, Chicago, 1939 Bequeathed to the Art Institute of Chicago, 1982 $800-$1,200 9

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*10

Paul Louis Narcisse Grolleron (FRENCH, 1848-1901)

Soldier Carrying a Wounded Soldier, 1898 oil on canvas signed illegibly and dated (lower right) 18 x 12 ½ inches.

Property from The Art Institute of Chicago Provenance: George F. Harding, Jr., Chicago, by 1939 Transferred to the George F. Harding Museum, Chicago, 1939 Bequeathed to the Art Institute of Chicago, 1982 $4,000-$6,000

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Sir Jacob Epstein (BRITISH, 1880-1959)

Robert Bontine Cunninghame Graham bronze inscribed Epstein Height: 14 inches.

Property from the Collection of Norene Goldstein, Chicago, Illinois Literature: Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, p. 154, no. 145 (another cast illustrated) $10,000-$15,000

*12

Sir Jacob Epstein (BRITISH, 1880-1959)

Marchesa Casati bronze Height: 11 3/4 inches.

From the Private Collection of Roberta Czachor, Sedona, Arizona Conceived in 1918 Literature: Richard Buckle, Jacob Epstein Sculptor, London, 1963, p. 96, , pl. 147 (another cast illustrated) Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, no. 95 (another cast illustrated) $3,000-$5,000

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Jean Théodore Dupas Born in Bordeaux in 1882, Jean Théodore Dupas was known as a designer, poster artist, and decorator, but above all, as a painter most closely associated with the Art Deco period. He was part of the Bordeaux School, which included other renowned artists, such as Robert Eugene Pougheon, René Buthaud, Jean Gabriel Domergue, Raphael Delorme, and his close friend and collaborator, Alfred Janniot. Dupas and his fellow artists were the last descendants of Neoclassicm and were also heavily influenced by Italian Mannerism. The influence of these two schools can be seen in Dupas’ gracefully elongated figures that frolic within Classical landscapes.

The present artwork was executed in 1914, shortly after Dupas won the 1910 Prix de Rome. The prize allowed him to study at the Académie de France in Rome for several years, before the outbreak of World War I. The impact of this Italianate setting can be seen in Untitled. Two elegant ladies in long chitons, a form of tunic worn in ancient Greece and Rome, playfully chase each other under a wisteria-draped Ionic colonnade. An idealized landscape of waterways and mountainous islands stretch out beyond them. Above the women fly three doves, which in the ancient world symbolized love and beauty. The smooth, bright color planes lend a decorative, jewel-like atmosphere to the scene. The overall impression is one of carefree tranquility, without the pressures of the modern world.

Dupas’ artwork later came to public prominence in 1925, when he was chosen by the furniture designer Jacques-Emile Ruhlmann to provide paintings for his Maison d’un collectionneur at the seminal Exposition des Arts Décoratifs in Paris. He then worked alongside Ruhlmann and the sculptor Alfred Jeanniot in 1926 on the decoration of the tearoom of the ocean liner Ile-de-France, the first of the grand transatlantic ships to be built in France after the First World War. In 1934 Dupas received his most important commission to date, a series of large glass murals for the Grand Salon of the new French ocean liner, the Normandie. In addition to these commissions, the artist produced posters, advertising, and illustrations for fashion magazines such as Vogue and Harper’s Bazaar. Dupas’ streamlined, graceful artworks establish his prominence as one of the great progenitors of the Art Deco movement.

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Jean Théodore Dupas (FRENCH, 1882 - 1964)

Untitled, 1914 oil on canvas signed Jean Dupas and dated (lower right) 16 ¼ x 13 inches.

This work will be included in the forthcoming Jean Dupas: catalogue raisonné currently being prepared by Romain Lefebvre. $8,000-$12,000

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Constantine Kluge (FRENCH, 1913-2003)

La cathédrale à Senlis oil on canvas signed C. Kluge (lower right); titled (verso) 25 ¾ x 36 ¼ inches.

Provenance: Artist’s studio, Paris Wally Findlay Galleries, Beverly Hills, California, 1976 Wally Findlay Galleries, Chicago, 1976 Private Collection, Winnetka, Illinois, 1976 The authenticity of this work has been confirmed by the Findlay Institute. This work will be included in the forthcoming Constantine Kluge catalogue raisonné being prepared by the Findlay Institute.

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$2,000-$4,000

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*15

Constantin Aleksandrovich Westchiloff (RUSSIAN, 1877-1945)

Beachside Home with Boat oil on canvas signed C. Westchiloff (lower right) 26 x 38 inches.

Property from the Collection of WC Allan, Glenwood, Iowa $2,000-$4,000

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Antoine Bouvard (FRENCH, 1870-1956)

View of Venice oil on canvas signed Bouvard (lower right) 9 x 12 1/2 inches. $2,000-$4,000

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Antoine Bouvard (FRENCH, 1870-1956)

Venetian Scene oil on canvas signed Bouvard (lower right) 20 x 25 ½ inches.

Property from the Collection of Mr. and Mrs. Richard and Jane Birkeness, Liberty, Missouri $3,000-$5,000

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Suzanne Valadon (FRENCH, 1865-1938)

Nu assis sur le bord d’un lit, 1929 oil on canvas signed Suzanne Valadon and dated (upper right) 32 x 25 1/2 inches.

Provenance: Paul Pétridès, Paris Christie’s, New York, November 15, 1990, lot 252 Literature: Paul Pétridès, L’oeuvre complet de Suzanne Valadon, Paris, 1971, p. 334, no. P381, illus. $30,000-$50,000

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Louis Valtat

(FRENCH, 1869-1952)

Enfant á la trompette, 1910 oil on board laid to canvas initialed (lower right) 16 x 19 1/8 inches.

Provenance: Sotheby’s, New York, February 18, 1982, lot 27 Private Collection Christie’s, New York, November 3, 1993, lot 180 Literature: Jean Valtat, Louis Valtat: Catalogue de l’oeuvre peint 1869-1952, Neuchâtel, 1977, vol. I, p. 99, no.

887, illus. $10,000-$15,000

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Pierre-Auguste Renoir Renoir’s depictions of women are among the most celebrated works of Impressionist art, and the present watercolor epitomizes the artist’s mastery of this subject. The present composition dates from circa 1885, when Renoir’s reputation as a figure painter was firmly established among the avant-garde. When Renoir first began to paint with the Impressionists early in his career, he favored quick, loose brushstrokes to depict the effects of plein-air painting and natural light. During the 1880s, the artist strayed from this emphasis of color over line. Influenced by the works of the Renaissance masters, he instead concentrated on solid, precise forms firmly grounded within their settings.

Set in a bucolic landscape, the model is positioned with a twisted torso and slightly raised arms, which accentuates the curvature of her form. The cool blue of the woman’s dress contrasts against the russet cow, whose solid form further highlights her body. The vibrant green grass and moody gray-blue sky additionally impart an energetic atmosphere to the watercolor. It was with these visually sumptuous depictions of women that led Renoir to become the leader of the avant-garde in the 1880s.

Emile Verhaeren, a contemporary poet and art critic of Renoir, summarized the quality of Renoir’s style of this period, which is illustrated in the present work. Verhaeren writes, “Here... is an utterly new vision, a quite unexpected interpretation of reality to solicit our imagination. Nothing is fresher, more alive and pulsating with blood and sexuality, than these bodies and faces as he portrays them. Where have they come from, those light and vibrating tones that caress arms, necks, and shoulders, and give a sensation of soft flesh and porousness? The backgrounds are suffusions of air and light; they are vague because they must not distract us” (Gerd Muesham, French Painters and Paintings from the Fourteenth Century to Post-Impressionism, New York, 1970, pp. 511-12).

The present artwork is a study for Le retour des champs, la bergère, la vache et la brebis, 1886, oil on canvas, now in the collection of The Fitzwilliam Museum at the University of Cambridge, England.

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Pierre-Auguste Renoir (FRENCH, 1841-1919)

Etude pour La Bergere, La Vache, La Brebis, c. 1885 watercolor, pen, ink and pencil on paper signed Renoir (lower center) 11 ½ x 13 ½ inches.

Provenance: (Possibly) Ambroise Vollard, Paris M. du Renault, Paris Wildenstein & Co., New York Leonard and Yoland (Sheriff) Joseph, acquired from the above, 1968 By descent to Margaret Sheriff, 2014 $70,000-$90,000

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Hans ZatzkaÂ

Hans Zatzka

Egyptian Girl at a Dressing Table

Seated Egyptian Girl

oil on canvas signed H. Zatzka (lower center); signed and inscribed (verso) 41 1/2 x 27 inches.

oil on canvas signed H. Zatzka (lower right); signed and inscribed (verso) 42 x 27 inches.

$2,000-$4,000

$2,000-$4,000

(AUSTRIAN, 1859 - 1945)

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(AUSTRIAN, 1859 - 1945)

EUROPEAN ART

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Joza UprkaÂ

(CZECH, 1861-1941)

Women in Field oil on canvas initialed (lower right) 23 1/2 x 31 1/2 inches. $10,000-$15,000

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Marcus Stone

(BRITISH, 1840-1921)

Lady with Cat, 1881 oil on canvas signed Marcus Stone and dated (lower right) 35 x 24 inches.

Property from the Collection of Norene Goldstein, Chicago, Illinois $8,000-$12,000

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Alexej Harlamoff

(RUSSIAN/FRENCH, 1840-1925)

The Young, Unbridled Girl oil on canvas signed Harlamoff (lower left) 17 3/4 x 12 1/4 inches.

Provenance: (Possibly) Ernest T. H. Bennet, London, early 20th century (Possibly) acquired by an American collector, Ohio, from the above By descent to the present owner This artwork has been examined by Olga Sugrobova-Roth and Eckard Lingenauber, via photograph, and has been included as number A 40-P in their online catalgoue raisonnĂŠ of the artist. $10,000-$15,000

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Grigory Gluckmann (RUSSIAN, 1898-1973)

Jeune Fille oil on board signed Gluckmann (lower right) 26 x 24 inches.

Provenance: Dalzell Hatfield Galleries, Los Angeles Exhibited: Palm Springs, California, Palm Springs Desert Museum, Grigory Gluckmann Contemporary Classicist, November 3-December 3, 1972 $15,000-$20,000

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Lê Phổ

Lê Phổ

La Meditation, c. 1955

Untitled (Vase of Flowers)

(VIETNAMESE/FRENCH, 1907-2001)

oil on card laid to composite board signed Lê Phổ (lower right) 13 ¾ x 8 ½ inches.

Provenance: The artist’s studio, circa 1955 This work has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Lê Phổ, currently underway.

(VIETNAMESE/FRENCH, 1907-2001)

oil on canvas signed Lê Phổ (lower left) 16 ¼ x 10 ¾ inches.

Provenance: Wally Findlay Galleries, New York This work has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Lê Phổ, currently underway.

$6,000-$8,000 $5,000-$7,000

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Mané-Katz

(FRENCH/UKRAINIAN, 1894–1962)

Bowl of Irises, 1935 oil on canvas signed Mane Katz (lower right) 24 x 20 inches Provenance: Paul Kantor Gallery, Beverly Hills, California Ansley Graham, Los Angeles $15,000-$20,000

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Henri Maik

(FRENCH, 1922-1993)

Comme papa, 1981 oil on canvas signed Maik and dated (lower right); signed, titled, and inscribed (verso) 57 ½ x 44 ¾ inches.

Provenance: The artist, Paris, 1981 Findlay Galleries, Chicago, 1981 Private Collection, Peoria, Illinois, 1985 The authenticity of this work has kindly been confirmed by The Findlay Institute. This work will be included in the forthcoming Henri Maik catalogue raisonné currently being prepared. $6,000-$8,000 30

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Henri Maik

Henri Maik

Les plongeurs

Heureuse après-midi

oil on canvas signed Maik (lower right); signed and titled (verso) 29 x 36 inches.

oil on canvas signed Maik (lower right); signed and titled (verso) 29 x 36 ¼ inches.

Provenance: The artist, Paris, 1984 Findlay Galleries, Chicago, 1984 Private Collection, Winnetka, Illinois, 1985

Provenance: The artist, Paris, 1984 Findlay Galleries, Chicago, 1984 Private Collection, Peoria, Illinois, 1985

The authenticity of this work has kindly been confirmed by The Findlay Institute. This work will be included in the forthcoming Henri Maik catalogue raisonné currently being prepared.

The authenticity of this work has kindly been confirmed by The Findlay Institute. This work will be included in the forthcoming Henri Maik catalogue raisonné currently being prepared.

$4,000-$6,000

$5,000-$7,000

(FRENCH, 1922-1993)

(FRENCH, 1922-1993)

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Yolande Ardissone

Peter Graham

Anthéor, jardin de l’artiste

Cormorants of the Scottish Coast

oil on canvas signed Ardissone (lower right); titled (verso) 21 ¾ x 18 ¼ inches.

oil on canvas signed Peter Graham and inscribed (lower right) 28 x 34 inches

Provenance: Wally Findlay Galleries, Palm Beach

$1,000-$1,500

(FRENCH, B. 1927)

(SCOTTISH, 1836-1921)

$800-$1,200

*35

Thomas Whitcombe (BRITISH, C. 1760-1824)

Battle Scene in the English Channel between American Ship “Wasp” and the English Brig “Reindeer”, 1812 oil on canvas 30 x 20 inches.

Property from The Art Institute of Chicago Provenance: George F. Harding, Jr., Chicago, by 1939 Transferred to the George F. Harding Museum, Chicago, 1939 Bequeathed to the Art Institute of Chicago, 1982 $3,000-$5,000 35

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Adolphus Knuth (European, 19th Century)

Seal Hunters, 1835 oil on panel signed Adolphus Knuth and dated (lower right) 15 3/4 x 20 inches.

Property from The Art Institute of Chicago Provenance: George F. Harding, Jr., Chicago, by 1939 Transferred to the George F. Harding Museum, Chicago, 1939 Bequeathed to the Art Institute of Chicago, 1982 36

$400-$600

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John Bentham-Dinsdale (BRITISH, 1927-2006)

Frolic and Warp oil on canvas signed John Bentham-Dinsdale (lower left); signed and titled (verso) 30 x 40 inches.

Provenance: Omell Galleries, London $3,000-$5,000

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John Bentham-Dinsdale (BRITISH, 1927-2006)

The Battle of Trafalgar oil on canvas signed John Bentham-Dinsdale (lower left); signed and titled (verso) 35 x 50 inches.

Provenance: Omell Galleries, London $4,000-$6,000

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John Bentham-Dinsdale (BRITISH, 1927-2006)

The Agamemnon with Calra and Vestale oil on canvas signed John Bentham-Dinsdale (lower left); signed and titled (verso) 30 x 40 inches.

Provenance: Omell Galleries, London $3,000-$5,000

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Anthony Brandrett (BRITISH, 20TH CENTURY)

Two Tall Ships oil on canvas signed Anthony Brandrett (lower right) 25 x 30 inches. $1,500-$2,500

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*41

François Charles Cachoud (FRENCH, 1866-1943)

La Caress de la Lune sur la tombe de l’Inconnu, 1922 pastel on canvas signed F Cachoud (lower right); titled and dated (verso) 32 x 27 ½ inches.

Property from The Art Institute of Chicago Provenance: George F. Harding, Jr., Chicago, by 1939 Transferred to the George F. Harding Museum, Chicago, 1939 Bequeathed to the Art Institute of Chicago, 1982 $1,000-$1,500

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Jules René Hervé (FRENCH, 1887-1981)

Tuileries Gardens oil on canvas signed Jules R. Hervé (lower right); signed (verso) 9 x 11 inches $2,000-$4,000

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Edouard Léon Cortès (FRENCH, 1882-1969)

Avenue de Friedland, Snow oil on canvas signed Edouard Cortes (lower right) 18 x 21 1/2 inches.

Provenance: The artist Findlay Galleries, Chicago, 1961 (Inv. E 1522) Private collection, 1961 By descent through the family to the present owner We would like to thank Nicole Verdier for confirming the authenticity of this painting and including it in volume III of Édouard Cortès Catalogue Raisonné de l’Oeuvre Peint. $10,000-$15,000

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Edouard Léon Cortès (FRENCH, 1882-1969)

Madeleine oil on canvas signed Edouard Cortes (lower right) 13 x 18 inches.

Provenance: The artist Wally Findlay Galleries, Chicago, 1969 We would like to thank Nicole Verdier for confirming the authenticity of this painting and including it in volume III of Édouard Cortès Catalogue Raisonné de l’Oeuvre Peint. $6,000-$8,000

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Antoine Blanchard (FRENCH, 1910-1988)

Place de la Madeleine oil on canvas signed Antoine Blanchard (lower left) 13 x 18 ¼ inches.

This work was examined, via photograph, by Rehs Galleries Inc., and has been included in their online catalogue of Antoine Blanchard’s work. $4,000-$6,000

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Antoine Blanchard (FRENCH, 1910-1988)

Place du Luxembourg et le Panthéon, 1900 oil on canvas signed Antoine Blanchard (lower left); signed and titled (verso) 12 ½ x 18 inches.

Property from the Estate of Marge Ewers, Nashville, Tennessee This work was examined, via photograph, by Rehs Galleries Inc., and has been included in their online catalogue of Antoine Blanchard’s work. $3,000-$5,000

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Antoine Blanchard (FRENCH, 1910-1988)

Rue Royale, Madeleine, Paris oil on canvas signed Antoine Blanchard (lower right); signed and titled (verso) 13 x 18 inches.

This work was examined, via photograph, by Rehs Galleries Inc., and has been included in their online catalogue of Antoine Blanchard’s work. $3,000-$5,000

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George (Karpeles) Kars Reconstruction of the Old Town in Prague is from a significant early phase in the career of Georges Kars, a member of the founding generation of Czech modern art. Beginning in 1899, Kars studied art history at the University of Munich and painting under Franz Stuck at the Academy of Fine Arts, where his fellow classmates included Paul Klee and Vasily Kandinsky. While in Munich, Kars also met Jules Pascin, who became a close friend and eventually a prominent figure of the Paris School.

After graduating in 1906, the artist traveled to Spain, Portugal, and Hamburg, Germany. It was during his travels that Kars significantly changed his means of expression. Before 1906, Kars‘ art was marked by his academic training, which emphasized dark colors and studio lighting. Particularly in Hamburg, Kars was greatly influenced by the work of German impressionists Max Libermann and Max Slevgot. As the artist put it, “It was an impressionist era, our eyes were on Liebermann, Slevogt, and we began to understand the paintings of Manet, van Gogh, Renoir, and Cézanne.”

In 1907, Kars settled in Prague for a short time. It was during this period that Reconstruction of the Old Town in Prague was executed. The artist was particularly interested in outdoor motifs punctuated by human figures, and the dramatic transformation of the captial center must have captivated him. Prague’s city center, including Josefov (the former Jewish ghetto) and parts of the Old and New Town, had been undergoing modernization since the end of the 19th century. From 1907-1908, the westernmost part of the reconstruction area was demolished, including a block of houses on Mariánské Square, which gave way to the New Town Hall (1908-1911, arch. O. Polívka).

In the present work, the demolished site of Mariánské Square is viewed from above, from the Klementinum, a former Jesuit college and now the seat of the Czech National Library. Although Kars described the modernization of the city as “Prague disppearing piece by piece,” his depiction is not melancholic. The artist is instead enchanted by the effects of light and captures the atmosphere in a completely new, almost abstract, manner. The light evenly infuses the composition while also appearing to come directly from the image. This light does not disturb the local colors, which are tuned to a unique harmony of almost pastel shades. The skillful, staccato brushstrokes further enliven the scene and are a direct influence of German impressionism. Through this play of balanced compositional elements, a fleeting moment of a living city is captured in its transformation to modernity.

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Georges (Karpeles) Kars (CZECH, 1882-1945)

Reconstruction of the Old Town in Prague, 1908 oil on canvas signed Kars and dated (lower right) 24 x 27 ½ inches.

Provenance: Purchased directly from the artist, Prague, October 13, 1931 By descent through the family to the present owner The authenticity of this work has been confirmed by Dr. Rea Michalová, Ph.D., expert on Czech art of the 20th century. $6,000-$8,000

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Gen Paul

Jean Charlot

(FRENCH, 1895-1975)

(FRENCH, 1898-1979)

Toréador et son amie, circa 1938

Lovers, 1930

oil on canvas signed Gen Paul (upper right) 18 x 15 inches.

oil on board 6 x 8 inches Property from an Important Private Collection of Modernist West Art

Provenance: Gallery of the Masters, St. Louis, Missouri

$2,000-$4,000

This work is to be included in the catalogue raisonné in preparation by the Gen Paul Committee. $5,000-$7,000

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Paul Guiramand (FRENCH, 1926-2008)

Untitled (Femmes dans le paysage) oil on canvas signed Guiramand (lower right) 39 1/2 x 32 inches Provenance: R.S. Johnson Fine Art, Chicago $2,000-$4,000

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EUROPEAN ART

52

*52

Kees van Dongen

(DUTCH/FRENCH, 1877-1968)

Le marché, rue Lepic, Paris ink and watercolor on paper initialed (lower right) 10 ¾ x 17 ¾ inches.

Property from the Estate of Stanley Michael Meyler, Evanston, Illinois This work is recorded in the archives pertaining to the Wildenstein Plattner Institute’s Catalogue Raisonné de l’oeuvre de Kees van Dongen.

Provenance: Duhamel Fine Art, Paris $10,000-$15,000

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*53

Joan Miró

(SPANISH, 1893-1983)

Untitled (on the title page of Son Abrines-Calamayor- Palma de Mallorca), 1965 crayon and ink on paper signed Miró and dated (right edge) 10 ¾ x 8 ½ inches.

Property from the Estate of Stanley Michael Meyler, Evanston, Illinois This work is accompanied by a certificate of authenticity from the Association pour la Défense de l’œuvre de Joan Miró.

Provenance: Masterworks Fine Art, Inc., Oakland, California $10,000-$15,000

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AMERICAN AND EUROPEAN ART

EUROPEAN ART

54

Joan Miro

*54

Dated December 13, 1957 and written on Palma Mallorca letterhead, the present artwork is on the verso of a letter from Miro to an unknown recipient. In the letter, Miro expresses regret that he cannot directly sell an artwork to the unknown peson. He then suggests that they contact his agents Pierre Matisse in New York or Galerie Maeght in Paris to make a purchase. Despite not being able to comply with the request, the artist mischievously circumvents his galleries and includes the drawing to satisfy the letter writer’s desire for an original artwork.

An established and highly respected artist by 1957, Miro was well known for his playful, abstract artworks. Miro developed his unique style early on, using organic forms and flattened picture planes described by sharp lines. This style was influenced in varying degrees by the automatism and expression of the subconscious espoused by Surrealism and Dadaism, with which Miro was heavily involved. In the 1920s, Miro was described by the poet André Breton as the “most ‘surrealist’ of us all” (André Breton, Le surréalisme et la peinture, Brentano’s, New York, 1945, p. 68).

Although Miro embraced the imaginative liberties of Surrealism, he never fully rejected the pictorial, developing a complex set of signs and symbols that he used to great effect. The present work is a spirited example of the artist’s work. It expresses Miro’s signature style, balancing the spontaneity and automatism of Surrealism with a meticulousness that achieves a finished rendering. In the drawing, a friendly face peers through a bent arm, all on top of a rotundity of circular gestures that indicate a body. The joyful colors have an invigorating effect and create a perfected, carefree, and energetic composition.

Joan Miro

(SPANISH, 1893–1983)

Untitled, 1957 crayon on paper signed Miro (lower right); inscribed letter (verso) 10 ¾ x 8 ¼ inches.

Property from the Estate of John Reiss, Milwaukee, Wisconsin This work is accompanied by a certificate of authenticity from the Association pour la Défense de l’œuvre de Joan Miró. $15,000-$20,000

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*55

Julio Gonzales

(SPANISH, 1876-1942)

Two Heads with the Letter “G”, 1936 ink and watercolor on paper initialed and dated (lower right) 11 x 7 3/4 inches.

Property from the Estate of Helen and Jack Halpern, Chicago, Illinois Provenance: Dr. Hugh McKenna, Chicago, Illinois Chicago Art Galleries Auction, June 29, 1981, lot 133 Mr. Alan P. Henry, Wilmette, Illinois $4,000-$6,000

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56

Henry Hobart Nichols (AMERICAN, 1869-1962)

Hudson River Valley oil on canvas laid to board signed H. Hobart Nichols (lower right) 24 x 28 ½ inches. $1,000-$1,500

56

57

Alfred Jacob Miller (AMERICAN, 1810-1874)

A Horseman Rides by a Cottage and Chapel pencil, ink, wash, on paper 7 x 10 ¼ inches.

Literature: Ron Tyler, ed., Alfred Jacob Miller: Artist on the Oregon Trail, with a catalogue raisonné by Karen Dewees Reynolds and William R. Johnston, Fort Worth, Texas, 1982, p. 408, no. 888-51. $4,000-$6,000

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AMERICAN ART

*58

Richard Ernest Schmidt (AMERICAN, 1865-1958)

Girl with Tankard, 19th or 20th century oil on panel signed Ernst Schmidt and inscribed (upper left) 6 3/8 x 4 3/4 in.

Property from The Art Institute of Chicago Provenance: Celia Schmidt, Chicago, by 1977 Bequeathed to the Art Institute of Chicago, 1977 $200-$400

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59

Francis Coates Jones (AMERICAN, 1857-1932)

The Water Carrier oil on canvas signed Francis C. Jones (lower left) 20 x 14 inches.

Provenance: Sotheby’s, New York, April 12, 1991, lot 56 Bakker Auctions, Boston, 1998 $6,000-$8,000

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60

Frederick Arthur Bridgman (AMERICAN, 1857-1928)

Women Near the Sidi Abderrahman, c. 1880-90 oil on canvas signed F.A. Bridgman (lower left) 31 ¾ x 23 ½ inches.

Provenance: Private Collection, France Millon & Associés, Paris, May 19, 2014, lot 214 Gladwell & Patterson Gallery, London $10,000-$15,000

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AMERICAN AND EUROPEAN ART

AMERICAN ART

61

61

George Hitchcock (AMERICAN, 1850 - 1913)

Hagar and Ishmael oil on canvas signed G. Hitchcock and dated (lower left) 44 x 64 inches.

Provenance: Carl Frederick Corbett Jr., Pawtucket, Rhode Island Estate of Dorothy Parks, Palm Beach, Florida $15,000-$20,000

62

William Aiken Walker (AMERICAN, 1838-1921)

Woman with Bale on Head oil on panel signed WA Walker (lower left) 8 x 4 inches.

Provenance: Kodner Gallery Fine Art, St. Louis, Missouri Based off examination from photographs, John Fowler has confirmed the present work will be included in the forthcoming catalogue raisonné of the artist’s work.

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$2,000-$4,000

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AMERICAN ART

Karl Albert Buehr Executed at a monumental scale, Sisterly Advice was exhibited by Karl Buehr at the 1913 Salon des Artistes Français (as Conseil de sœur). At the time of the painting’s submission to the Salon, Buehr, originally born in Germany but raised in Chicago, had been in France since 1905. Originally studying at the Acadèmie Julian in Paris, by 1909 the artist began to spend summers in Giverny, where he encountered fellow American Impressionists, including Louis Ritman, Frederick Frieseke, Richard Miller, and Theodore Butler. It was in Giverny that Buehr developed his characteristic style, which focused on themes of women at leisure depicted with rich textures, patterned decorative effects, and pastel colors.

Sisterly Advice encompasses all the hallmarks of Buehr’s style. The viewer is privy to an intimate moment, in which a sister provides soothing counsel to her distraught sibling. The sensitive scene is further enhanced by the close-cropped view of the two attractive sisters. Careful attention has been paid to the sumptuous gowns the women wear, which are picked out in broad, shimmering brushstrokes. Details such as the Japanese print that hangs above them and the delicate curves of the carved, gilt-wood couch speak to a refined and cultured atmosphere. The luxuriant patterns of the damask wallpaper, embroidered pillows, and floral upholstery fabric likewise accentuate the private, feminine interior and the conversation within.

Buehr had previously explored the theme of sisterly guidance in Une gage. Finished in 1912 and of a similar size as Sisterly Advice, the two women wear almost identical gowns and are set within an intimately elegant interior. Here, however, the ladies appear to be in fractious dispute, with the green-clad woman dispensing heated advice to her errant sister. Like the present artwork, the artist also submitted this painting to a largescale exhibition, the 1915 Panama-Pacific International Exposition in San Francisco, where he won a silver medal.

In addition to the 1913 Paris Salon, Sisterly Advice was included in the 1913 Twenty-Sixth Annual Exhibition of American Oil Paintings and Sculpture at the Art Institute of Chicago. Upon his relocation to Chicago in 1914 at the onset of World War I, Buehr continued to produce and exhibit his work. Sisterly Advice was again presented to the public in 1918, at a Carson Pirie Scott Galleries exhibition of Chicago artists. A critic for the Fine Arts Journal, declared: “Here are to be seen assembled in one show the pick and cream of every other exhibition this season and the best offerings of nearly all the representative painters of this city…There is not a mediocre or an uninteresting thing in the entire collection…,” the present painting among them (“The Exhibition at the Carson Pirie Scott Galleries,” Fine Art Journal, May 1918, p. 52).

63

Karl Albert Buehr (AMERICAN, 1866-1952)

Sisterly Advice, circa 1913 oil on canvas signed KA Buehr (lower left) 60 x 50 inches.

Exhibited: Paris, Salon des Artistes Français (as Conseil de sœur), 1913, no.

284.

Chicago, Art Institute of Chicago, Twenty-Sixth Annual Exhibition of American Oil Paintings and Sculpture, November 14-December 25, 1913, no. 47, illus.

Chicago, Carson Pirie Scott & Co. Gallery, Works by Chicago Artists, 1918 Literature: American Art News, New York, November 22, 1913, p. 7, illus.

“The Exhibition at the Carson Pirie Scott Galleries,” Fine Arts Journal, Chicago, May 1918, p. 54, illus. $40,000-$60,000

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*64

Childe Hassam

(AMERICAN, 1859-1935)

Portrait of Ethel Moore, 1892 pastel on canvas signed Childe Hassam and dated (lower left) 30 x 18 inches Property from the Fox Collection, Elm Grove, Wisconsin Provenance: The family of the artist By descent to Virginia Rook Garver (daughter of the sitter) Doyle New York, December 4, 1997, lot 116 Gerald Peters Gallery, New York DeLind Gallery, Milwaukee, Wisconsin This work will be included in Stuart P. Feld’s and Kathleen M. Burnside’s forthcoming catalogue raisonné of the artist’s work. $60,000-$80,000

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*65

Walter Sanford

(AMERICAN, 1912-1987)

Susan and Friend, 1948 oil on board signed Sanford and dated (upper right) 30 x 24 inches.

Property from the Collection of Kenneth and Shirley Butler, Chicago, Illinois Provenance: Acquired directly from the artist $2,000-$4,000

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66

66

67

Emil Bisttram

Emil Bisttram

Abstraction, 1941

Abstraction, 1941

encaustic on paper signed Bisttram and dated (lower left) 11 3/4 x 9 3/4 inches.

encaustic on paper signed Bisttram and dated (lower left) 11 3/4 x 9 3/4 inches.

Provenance: Cline Fine Art, Santa Fe, New Mexico Owings-Dewey Fine Art, Santa Fe, New Mexico

Provenance: Cline Fine Art, Santa Fe, New Mexico Owings-Dewey Fine Art, Santa Fe, New Mexico

$1,000-$2,000

$1,000-$2,000

(AMERICAN, 1895-1976)

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AMERICAN AND EUROPEAN ART

(AMERICAN, 1895-1976)

AMERICAN ART

*68

William Sylvester Carter (AMERICAN, 1909-1996)

Women in Interior oil on masonite signed Wm. Carter and dated (lower center); signed and dated (lower right) 30 x 23 3/4 inches.

Property from the Collection of Kenneth and Shirley Butler, Chicago, Illinois Provenance: Acquired directly from the artist $2,000-$4,000 68

69

Frederick M. Grant (AMERICAN, 1886-1952)

Still Life with Flowers and Pears oil on canvas signed Frederick M. Grant (lower right) 22 x 24 inches.

Provenance: Robert Henry Adams Fine Arts, Chicago Exhibited: Chicago, Art Institute of Chicago, Twenty-Eighth Annual Exhibition of American Oil Paintings and Sculpture, November 16, 1915-January 2, 1916 $2,000-$4,000

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70

John Atherton

(AMERICAN, 1900-1952)

Saturday Evening Post Cover, December 2, 1944 gouache on board signed Atherton (lower right) 27 3/4 x 21 1/4 inches.

Exhibited: New York, International Galleries, Contemporary American Illustrators, May 3-20, 1946, no. 142 $4,000-$6,000

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71

72

71

72

Arthur Kimmel Getz

Jan Matulka

Rainy School Day, an illustration for The New Yorker magazine

New England Landscape, c. 1925

tempera on paper laid to cardboard signed Getz (lower right) 24 x 18 inches.

Property from a Private Midwest Collection

oil on masonite estate stamped (verso) 29 1/4 x 21 3/4 inches.

(AMERICAN, 1913-1996)

(AMERICAN/CZECH, 1890–1972)

$6,000-$8,000 This artwork was used as the cover of the April 21, 1951 issue of The New Yorker. It is accompanied by an original issue.

$2,000-$4,000

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AMERICAN ART

73

Jan Matulka

(AMERICAN/CZECH, 1890-1972)

Inwood Heights, New York City oil on canvas signed Matulka (lower right) 22 x 30 inches.

Provenance: R. H. Love Galleries, Inc., Chicago $8,000-$12,000

73

74

Jan Matulka

(AMERICAN/CZECH, 1890–1972)

View Of The Bronx, c. 1921 watercolor and graphite on paper signed Matulka (lower right) 15 x 22 inches.

Provenance: Thomas McCormick Gallery, Chicago Acquired from the above by the present owner in 1999 $6,000-$8,000

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75

Charles Vickery

(AMERICAN, 1913–1998)

Rowboat Moored on Beach

oil on canvas signed Charles Vickery (lower right) 18 x 24 inches.

Provenance: The artist Acquired directly from the artist By descent through the family to the present owner This artwork is accompanied by a letter from the artist, addressed to the parents of the present owner. $1,000-$1,500 75

76

Charles Vickery

(AMERICAN, 1913-1998)

Ships in the Harbor oil on canvas signed Vickery (lower right) 30 x 40 inches. $2,000-$4,000

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77

Charles Vickery

(AMERICAN, 1913-1998)

In the Days of the Square Riggers oil on canvas signed Charles Vickery (lower right); titled (verso) 30 x 42 inches.

$3,000-$5,000

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AMERICAN ART

78

78

William R. Davis (AMERICAN, B. 1952)

Day Steamer Mooring in Outer Nantucket Harbor oil on canvas signed William R. Davis ASMA (lower right) 14 x 22 inches Provenance:Â Mystic Maritime Gallery, Mystic, Connecticut $2,000-$4,000

*79

Wilson Henry Irvine (AMERICAN, 1969-1936)

Crashing Waves oil on canvas signed Irvine (lower right) 26 x 29 inches.

Property from the Collection of William Dent Reichmann, Barrington Hills, Illinois $1,000-$1,500

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80

William Trost Richards (AMERICAN, 1833-1905)

Crashing Waves, 1885 oil on canvas signed Wm. T. Richards and dated (lower left) 20 x 32 inches. $15,000-$20,000

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AMERICAN AND EUROPEAN ART

AMERICAN ART

81

Wilson Henry Irvine (AMERICAN, 1869-1936)

A Farmyard in Spring oil on canvas board signed Irvine (lower left); signed and titled (verso) 10 x 11 3/4 inches. $1,000-$1,500

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82

Wilson Henry Irvine (AMERICAN, 1869-1936)

Autumn oil on canvas laid to board signed Irvine (lower left) 24 x 27 inches. $1,000-$1,500

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83

Emile Albert Gruppe (AMERICAN, 1896-1978)

Pompano Shed oil on canvas signed Emile A. Gruppe (lower right); titled (verso) 25 x 30 inches. $1,000-$2,000

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84

Emile Albert Gruppe (AMERICAN, 1896-1978)

Lily Pond oil on canvas signed Emile A. Gruppe (lower right); titled (verso) 25 ½ x 30 inches. $2,000-$4,000

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85

Emile Albert Gruppe (AMERICAN, 1896-1978)

Birch Trees oil on canvas signed Emile A. Gruppe (lower right) 24 x 20 inches. $2,000-$4,000

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AMERICAN ART

86

86

Charles Harold Davis (AMERICAN, 1856-1933)

Landscape, 1884 oil on board signed Charles H. Davis, dated, and inscribed (lower left) 31 x 45 inches.

Provenance: The artist John Suster, Chicago, 1920s By descent through the family to the present owner Exhibited: Paris, Salon des Artistes Français, (as Village dans la plaine), 1884, no. 675 The artwork is accompanied by a letter from the artist to John Suster, dated October 17, 1925 $8,000-$12,000

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87

George Ames Aldrich (AMERICAN, 1872-1941)

River Scene oil on canvas signed G. Ames Aldrich (lower left) 36 x 36 inches. $1,000-$1,500

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88

George Ames Aldrich (AMERICAN, 1872-1941)

Winter Landscape with River oil on board signed G. Ames Aldrich (lower right) 36 x 36 inches. $1,000-$1,500

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*89

George Ames Aldrich (AMERICAN, 1872-1941)

Gloucester Harbor oil on artists board 15 x 18 inches.

Property from the Collection of David Mungenast, Milwaukee, Wisconsin Provenance: Kenneth Probst Galleries, Chicago $800-$1,200

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AMERICAN ART

90

Eric Sloane

(AMERICAN, 1905-1985)

Alone oil on canvas board signed Sloane (lower right); titled (lower left) 20 x 24 inches $6,000-$8,000

90

91

Aldro Hibbard

(AMERICAN, 1886-1972)

Winter River oil on canvas signed A. T. Hibbard (lower left) 22 ¼ x 30 inches. $3,000-$5,000

91

*92

Theodore Clement Steele (AMERICAN, 1847–1926)

Soldiers’ and Sailors’ Monument of Indianapolis, 1917 oil on canvas signed T.C. Steele and dated (lower right) 29 x 39 inches.

Property from the Estate of Dorothy F. Ross, Chagrin Falls, Ohio $6,000-$8,000

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Max Weber Praised as a “pioneer of Modern art in America,” Max Weber was a pivotal figure in introducing avant-garde art to the United States in the early 20th century (Sargeant, Winthrop, “Max Weber,” Life, 20 Aug. 1945, p. 87). His early artworks are bold experimentations in brilliant colors, cubist forms, and contemporary, abstracted scenes. At first rejected by critics, his revolutionary artwork gradually became accepted and Weber succeeded in garnering public recognition. However, by the late 1920s, the artist gradually transitioned to a more naturalistic and representational style, which was to be predominant for much of the remainder of his career. Figures and landscapes from this later period are strongly and powerfully constructed in rich, muted tones, and frequently project a melancholy or tragic mood.

Weber frequently wrote about his convictions that art is more than a depiction of what is seen. In an essay accompanying a 1945 monograph of his works, Weber outlined his belief that art is to express the spiritual: “Art has a higher purpose than mere imitation of nature. It transcends the earthly and measurable. It has its own scale and destiny. It is concerned with informing spirit that emanates only from spiritual and mystical realms, from the nether and the astral. A work may be ever so anatomically incorrect or ‘distorted’ and still be endowed with the miraculous and indescribable elements of beauty that thrill the discerning spectator.” (American Artists Group, Inc., Max Weber, Illustrated Monographs 4, New York, 1945, n.p.)

Painted by 1940, Winter Twilight reflects this more personal style that underscores the spiritual nature of the artist’s subjects. The artwork depicts a windswept waterway, with barren trees reaching toward scudding gray clouds. Flashes of blue sky are glimpsed and emphasize the briskness of the wind. Across the shore stand two solitary houses atop sheer bluffs.

The structures are each accompanied by a lone, tall, green tree, which stand sentinel and punctuate the sky. The artwork is executed with broad, sweeping brushstrokes of blue and gray and forms are outlined with strong strokes of black paint. The overall effect is of introspective solitude in the relentless face of an oncoming winter evening.

The success of Winter Twilight is indicated in the number of exhibitions in which it was displayed during the 1940s. In 1942, it won the Ada S. Garrett Prize at the Art Institute of Chicago’s 52nd Annual Exhibition of American Paintings and Sculptures.

Its inclusion in the 1944 Museum of Modern Art exhibit, Romantic Painting in America, is particularly telling of the critical recognition of Weber’s new, realistic style. Weber is termed an “Expressionist Romantic” and Winter Twilight is described as being “in the tradition of ‘ruined’ landscape, with bare foreground trees.” (Museum of Modern Art, Romantic Painting in America, New York, 1943, p. 40) The 1949 Whitney Museum of American Art exhibition catalogue, Max Weber: Retrospective Exhibition, describes the painting as having a “somber brooding spirit, leaden sky, bare broken trees, and mournful, handsome color.” (Whitney Museum of American Art, Max Weber: Retrospective Exhibition, New York, 1949, p. 43) Winter Twilight highlights Weber’s ability to paint the emotionally expressive into the natural landscape.

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Max Weber

(AMERICAN, 1881-1961)

Winter Twilight oil on canvas signed Max Weber (lower right) 30 x 40 inches.

Provenance: Mr. and Mrs. Buell Hammett Santa Barbara Museum of Art, Santa Barbara, California Sotheby’s Arcade, New York, May 27, 1998, lot 335 Hindman, Chicago, December 15, 2003, lot 7 Exhibited: Santa Barbara Museum of Art, Painting Today and Yesterday in the United States, June 5-September 1, 1941 Chicago, Art Institute of Chicago, 52nd Annual Exhibition of American Paintings & Sculpture, October 30, 1941- January 4,1942, no. 214, pl. II, illus.

New York, Museum of Modern Art, Romantic Painting in America, November 17, 1943-February 6, 1944, pp. 40, 92, no.

203, illus.

Max Weber: Retrospective Exhibition, traveling exhibition organized by the Whitney Museum of Art, New York, February 5-March 27,1949; Walker Art Center, Minneapolis, Minnesota, April 17-May 29, 1949, pp. 32, 43, 61, no. 45, illus.

First Comprehensive Retrospective Exhibition in the West of oil, gouaches, pastels, drawings and graphic works by Max Weber (1881-1961), traveling exhibition organized by The Art Galleries, University of California at Santa Barbara, Santa Barbara, California, February 6-March 3, 1968; California Palace of the Legion of Honor, San Francisco, California, April 19-May 19, 1968; Phoenix Museum of Art, Phoenix, Arizona, May 28-June 25, 1968; The Fine Arts Gallery of San Diego, California, July 5- August 18, 1968, pp. 29, 64, no. 31, illus.

Literature: American Artist Group, Inc., Max Weber, Illustrated Monographs 4, New York, 1945, illus. $20,000-$30,000

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Joseph Stella

(AMERICAN, 1877-1946)

Hollyhocks, c. 1919 silverpoint and crayon on paper 6 ¼ x 4 ¾ inches.

Provenance: The artist By bequest to Sergio Stella (nephew of artist) By bequest to Mary Stella (wife of Sergio) Richard York Gallery, New York, 2000 Exhibited: New York, Richard York Gallery, Passion and Reverence: Joseph Stella and the Natural World, April 29-June 30, 1998, no. 22, illus. $1,000-$2,000

94

*95

William Samuel Horton (American, 1865-1936)

Springtime in Provence oil on canvas 25 1/8 x 30 1/2 inches.

Property from the Collection of David Mungenast, Milwaukee, Wisconsin Provenance: Kenneth Probst Galleries, Chicago $2,000-$4,000 95

96

Jane Freilicher

(American, 1924–2014)

Untitled (Orchard), 1967 pastel on paper signed Jane Freilicher and dated (lower right) 11 ¼ x 9 inches. $2,000-$4,000

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AMERICAN ART

97

Alexis Jean Fournier (American, 1865-1948)

Spring Lambs, c. 1915 oil on canvas laid to board signed Alex Fournier (lower right); signed Alex Fournier and titled (verso) 17 1/2 x 24 inches.

Provenance: John Suster, Chicago, 1920s By descent through the family to the present owner $4,000-$6,000

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98

Marion Ida Kavanagh Wachtel (American, 1876-1954)

Sierra Mountains watercolor on paper signed Marion Kavanagh Wachtel (lower left) 15 1/2 x 19 1/4 inches. $4,000-$6,000

98

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ARTIST INDEX ARTIST NAME

GLOSSARY OF TERMS LOT

Aldrich, George Ames ............................ 87-89 Ardissone, Yolande ...................................... 33 Atherton, John ............................................ 70 Beauquesne, Wilfrid Constant ........................ 9 Bentham-Dinsdale, John ......................... 37-39 Bergamini, Francesco .................................... 4 Bisttram, Emil ........................................ 66-67 Blanchard, Antoine ................................. 45-47 Bouvard, Antoine .................................... 16-17 Brandrett, Anthony ....................................... 40 Bridgman, Frederick Arthur ........................... 60 Buehr, Karl Albert ........................................ 63 Cachoud, François Charles ........................... 41 Carter, William Sylvester .............................. 68 Charlot, Jean .............................................. 50 Cortès, Edouard Léon ............................. 43-44 Davis, Charles Harold .................................. 86 Davis, William R. ......................................... 78 Dawson, Henry .............................................. 2 de Hoog, Bernard .......................................... 5 De Noter, David Emile Joseph ......................... 6 Dupas, Jean Théodore ................................. 13 Epstein, Jacob ....................................... 11-12 Fournier, Alexis Jean .................................... 97 Freilicher, Jane ............................................ 96 Getz, Arthur Kimmel .................................... 71 Gluckmann, Grigory ..................................... 26 Gonzales, Julio ............................................ 55 Graham, Peter ............................................. 34 Grant, Frederick M. ...................................... 69 Green, Charles .............................................. 8 Grolleron, Paul Louis Narcisse ...................... 10 Gruppe, Emile Albert ............................... 83-85 Guiramand, Paul .......................................... 51 Harlamoff, Alexej ......................................... 25 Hassam, Childe............................................ 64 Hervé, Jules René ....................................... 42

Hibbard, Aldro ............................................. 91 Hitchcock, George ....................................... 61 Horton, William Samuel ............................... 95 Irvine, Wilson Henry ...........................79, 81-82 Jones, Francis Coates .................................. 59 Kars, Georges (Karpeles) ............................. 48 Kluge, Constantine ...................................... 14 Knuth, Adolphus .......................................... 36 Lê Phổ.................................................... 27-28 Maik, Henri ............................................ 30-32 Mané-Katz................................................... 29 Matulka, Jan .......................................... 72-74 Meyerheim, William Alexander......................... 1 Miller, Alfred Jacob ...................................... 57 Miro, Joan............................................... 53-54 Nichols, Henry Hobart .................................. 56 Paul, Gen..................................................... 49 Renoir, Pierre-Auguste .................................. 20 Richards, William Trost ................................. 80 Sanford, Walter ........................................... 65 Schmidt, Richard Ernest .............................. 58 Sloane, Eric ................................................ 90 Steele, Theodore Clement ............................ 92 Stella, Joseph ............................................. 94 Stone, Marcus ............................................ 24 Tornai, Gyula ................................................. 7 Uprka, Joza ................................................. 23 Valadon, Suzanne ........................................ 18 Valtat, Louis ................................................ 19 Van Dongen, Kees........................................ 52 Vickery, Charles ..................................... 75-77 Wachtel, Marion Ida Kavanagh ...................... 98 Walker, William Aiken ................................... 62 Ward, James ................................................. 3 Weber, Max ................................................. 93 Westchiloff, Constantin Aleksandrovich ......... 15 Whitcombe, Thomas .................................... 35 Zatzka, Hans .......................................... 21-22

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

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

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

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

STYLE OF . . .

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

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

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

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

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

Dimensions are given height before width.

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PAUL KLEE (GERMAN, 1879–1940) THEATRE DER MASKEN, 1922. SOLD AT AUCTION FOR $47,500.

U P C O M I N G AUC T ION SCHEDUL E 737 | MODERN DESIGN MAY 19 | CHICAGO 771 | EARLY 20TH CENTURY DESIGN MAY 19 | CHICAGO 747 | AMERICAN AND EUROPEAN ART MAY 20 | CHICAGO 743 | POST WAR AND CONTEMPORARY ART MAY 21 | CHICAGO 744 | PRINTS AND MULTIPLES MAY 21 | CHICAGO 753 | AMERICAN AND EUROPEAN ART MAY 22 | ONLINE ONLY 765 | PALM BEACH COLLECTIONS SESSION I MAY 27 | ONLINE ONLY 765 | PALM BEACH COLLECTIONS SESSION II MAY 28 | ONLINE ONLY 757 | FINE FURNITURE, DECORATIVE ARTS & SILVER JUNE 3 | ONLINE ONLY

738 | ARTS OF THE AMERICAN WEST SESSION I: WESTERN PAINTINGS AND SCULPTURE JUNE 4 | DENVER 792 | ARTS OF THE AMERICAN WEST SESSION II: AMERICAN INDIAN ART AND JEWELRY JUNE 5 | DENVER 758 | FINE ART AND DESIGN SELECTIONS JUNE 10 | ONLINE ONLY 761 | ANTIQUITIES AND ISLAMIC ART JUNE 16 | CHICAGO 760 | ESSENTIAL JEWELRY JUNE 17 | ONLINE ONLY 775 | ATLANTA COLLECTIONS JUNE 18 | ATLANTA 768 | SUMMER FASHION AND ACCESSORIES JUNE 19 | ONLINE ONLY 741 | FINE BOOKS AND MANUSCRIPTS JUNE 22 | CHICAGO

AUCTION INQUIRIES | FINE ART DEPARTMENT

Joseph Stanfield Director, Senior Specialist

Tess Hall Senior Specialist American and European Art

Zack Wirsum Senior Specialist Post War and Contemporary Art

Monica Brown Senior Specialist, Fine Prints

Nate Brady Associate Specialist

Julianna Tancredi Cataloger

Mary Grace Bilby Account Executive

FINANCE

Fine Art

Books and Manuscripts

Hindman Interiors

Marco Gusella Controller marcogusella@hindmanauctions.com 312.280.1212

Joseph Stanfield Director, Senior Specialist josephstanfield@hindmanauctions.com

Gretchen Hause Director, Senior Specialist gretchenhause@hindmanauctions.com

hindmanauctions.com 312.280.1212

Zack Wirsum Senior Specialist zacharywirsum@hindmanauctions.com

Francis Wahlgren Senior Consultant franciswahlgren@hindmanauctions.com

Tess Hall Senior Specialist anastasiahall@hindmanauctions.com

Maria Fernandez Cataloger mariafernandez@hindmanauctions.com 312.334.4236

CLIENT SERVICES Rita Swanberg Client Experience Manager ritaswanberg@hindmanauctions.com 312.280.1212

ESTATES, APPRAISALS AND BUSINESS DEVELOPMENT Alyssa Quinlan Senior Vice President, Business Development alyssaquinlan@hindmanauctions.com 312.447.3272 Molly E. Gron, J.D. National Director, Trusts & Estates Senior Director, Chicago mollygron@hindmanauctions.com 312.334.4235 Katie Matusik Director, Appraisals and Valuations katelynmatusik@hindmanauctions.com 312.334.4224 Susan Mackenzie Business Development Director, Midwest susanmackenzie@hindmanauctions.com 312.447.3267 Vaughn Smith Business Development Manager vaughnsmith@hindmanauctions.com 312.334.4238 Briar Koehl Business Development Senior Associate briarkoehl@hindmanauctions.com 312.600.6075 Miranda Maxfield Business Development Associate mirandaluce@hindmanauctions.com 312.334.4208

Monica Brown Senior Specialist monicabrown@hindmanauctions.com Nate Brady Associate Specialist nathanbrady@hindmanauctions.com Julianna Tancredi Cataloger juliannatancredi@hindmanauctions.com Mary Grace Bilby Account Executive marygracebilby@hindmanauctions.com 312.334.4216

Fine Furniture, Decorative Arts and Silver Corbin Horn Director, Senior Specialist corbinhorn@hindmanauctions.com 312.334.4214 Mike Intihar Senior Specialist mikeintihar@hindmanauctions.com Benjamin Fisher Senior Specialist benjaminfisher@hindmanauctions.com Nick Coombs Specialist nickcoombs@hindmanauctions.com Genevieve King Associate Specialist genevieveking@hindmanauctions.com

Samantha Schwartz Business Development Associate samanthaschwartz@hindmanauctions.com 312.447.3297

Modern Design

MUSEUM SERVICES

Sabrina Granados Associate Cataloger sabrinagranados@hindmanauctions.com

Michael Shapiro Senior Advisor, Museums and Private Collections michaelshapiro@hindmanauctions.com 312.334.4210

CONSIGNMENT DEPARTMENT Jim Sharp VP Expertise jimsharp@hindmanauctions.com

Hudson Berry Director, Specialist hudsonberry@hindmanauctions.com

Arts of the American West Alexandria Dreas Consignment Manager alexandriadreas@hindmanauctions.com 303.825.1855

Maggie Porter VP Sales Strategy maggieporteri@hindmanauctions.com

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Asian Works of Art Annie Wu Director, Senior Specialist anniewu@hindmanauctions.com Flora Zhang Cataloger florazhang@hindmanauctions.com Megan Sadler Associate Cataloger megansadler@hindmanauctions.com

Fine Jewelry and Timepieces Kimberly Burt Director kimberlyburt@hindmanauctions.com Katie Hammond Guilbault, G.G. Business Development Director, San Diego Senior Specialist, Jewelry and Timepieces katieguilbault@hindmanauctions.com Sally Klarr, G.G. Senior Specialist sallyklarr@hindmanauctions.com Marisa Ackerman, G.G. Specialist marisaackerman@hindmanauctions.com Hana Thomson Cataloger hanathomson@hindmanauctions.com Madeline Schroeder Associate Cataloger madelineschroeder@hindmanauctions.com 312.334.4223

Couture and Luxury Accessories Timothy Long Director, Senior Specialist timothylong@hindmanauctions.com Michael Hall Cataloger michaelhall@hindmanauctions.com

REGIONAL OFFICES Abby Chambers Account Executive abbychambers@hindmanauctions.com 312.334.4234 Arrington Caison Account Executive arringtoncaison@hindmanauctions.com 312.447.3282

Atlanta

668 Miami Circle NE Atlanta, Georgia 30324 atlanta@hindmanauctions.com 404.800.0192

Denver

2737 Larimer Street, Suite C Denver, Colorado 80205 denver@hindmanauctions.com 303.825.1855

Milwaukee

414 East Mason Street Milwaukee, Wisconsin 53202 milwaukee@hindmanauctions.com 414.220.9200

Naples

850 6th Avenue South Naples, Florida 34102 naples@hindmanauctions.com 239.643.4448

West Palm Beach

1608 South Dixie Highway West Palm Beach, Florida 33401 westpalmbeach@hindmanauctions.com 561.833.8053

San Diego

8910 University Center Lane, Suite 400 San Diego, California 92122 sandiego@hindmanauctions.com 858.442.6104

Scottsdale

15475 North Greenway Hayden Loop Suite B17 Scottsdale, Arizona 85260 scottsdale@hindmanauctions.com 480.490.3175

St. Louis

Beatrice Levine Account Executive beatricelevine@hindmanauctions.com

32 North Brentwood Boulevard Clayton, Missouri 63105 stlouis@hindmanauctions.com 314.833.0833

Sports Memorabilia

Washington, D.C.

James Smith Specialist jamessmith@hindmanauctions.com

700 12th Street, NW Suite 700 Washington, D.C. 20005 washingtondc@hindman.com 202.853.1638

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

Standard Commission Rates Our standard rate of commission is equal to ten percent (10%) of the hammer price on each lot sold for $5,001 or more; and twenty percent (20%) of the hammer price on each lot sold for less than $5,001, with a minimum commission of $25 per lot sold. If your property fails to reach the reserve price agreed upon between you and Hindman LLC, you may be obligated to pay a reduced commission rate of five percent (5%) of the reserve price.

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

Appraisals Appraisals can be arranged for insurance, donation, estate tax, family division or other purposes. Appraisal fees vary according to circumstances.

Please contact our Estates and Appraisals Department at 312.280.1212 for further information.

GUIDE FOR PROSPECTIVE BUYERS Conditions of Sale Hindman LLC encourages all prospective buyers to read the Conditions of Sale printed in this catalogue.

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

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

Bidding at Auction The highest bidder acknowledged by the auctioneer will be the purchaser. In addition to the hammer price, the buyer agrees to pay Hindman LLC a buyer’s premium as well as any applicable taxes.

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

The 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 Hindman LLC 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 Hindman LLC allows absentee and live bidding through our website at hindmanauctions.com as well as absentee and live bidding through third party online bidding providers which vary by sale. For more information regarding online bidding please visit our website at hindmanauctions.com.

Absentee Bidding If you are unable to attend an auction, you may use the absentee bid form provided at the back of this catalogue. Hindman LLC 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.

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

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CONDITIONS OF SALE HINDMAN LLC AS AGENT The lots listed in this catalogue will be offered by Hindman LLC 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 Hindman LLC nor its consignor(s) makes any warranties or representations, express or implied with respect to such lots. Neither Hindman LLC 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. Hindman LLC 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. Hindman LLC expressly reserves the right to reproduce any image of the lots sold in the catalogue.

AT THE SALE Refusal of Admission Hindman LLC 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 Hindman LLC before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Hindman LLC, and that Hindman LLC 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 Hindman LLC. 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.

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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 Hindman LLC. 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 Hindman LLC 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 Hindman LLC 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 $250,000; twenty percent (20%) of any amount in excess of $250,000 up to and including $3,000,000; and twelve percent (12%) of any amount in excess of $3,000,000.

Third-Party Platform Fee If the buyer bids through a third-party platform the buyer agrees to pay a surcharge to Hindman LLC equal to the fee levied by the third-party platform.

The third-party platform fee is in addition to the buyer’s premium.

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 Hindman LLC. Hindman LLC reserves the right to hold merchandise purchased by personal check until the check has cleared the bank. The purchaser agrees to pay Hindman LLC 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 Hindman LLC 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 Hindman LLC 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.

LIABILITY Condition Reports Hindman LLC 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, Hindman LLC 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 Hindman LLC.

07/19

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, Hindman LLC 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. Hindman LLC 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.

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

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BID FORM

FX 312.280.1211 EM BID@HINDMANAUCTIONS.COM

Online registration/bid requests must be received at least 24 hours before the auction begins. Hindman LLC 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. Hindman LLC allows absentee and telephone bidding registeration through our website at www.hindmanauctions.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:

NAME

SALE No./NAME

747 - American & European Art Business NAME

Billing address

city

state

country/zip

contact NAME

primary phone

email

$0 – 200 $200 – 500 $500 – 1,000 $1,000 – 2,000 $2,000 – 5,000 $5,000 – 10,000 $10,000 – 20,000 $20,000 – 50,000 $50,000 – 100,000 $100,000 – 200,000 $200,000 +

$10 $25 $50 $100 $200 $500 $1,000 $2,000 $5,000 $10,000 AUCTIONEER’S DISCRETION

secondary phone

For absentee bids, indicate your limit for each lot. Your bids will be excecuted 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.

fax

I authorize Hindman LLC 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.

SIG N ATURE

DAT E

( FO R H INDM AN L CC)

DAT E

A per lot buyer’s premium is added to the final hammer price as per the following: $0 – 250,000 $250,001 – 3,000,000 $3,000,001 +

25% 20% 12%

Hindman LLC is not responsible for failure or other inadvertent errors relating to the execution of your bids.

First time bidders please provide a valid credit card and one of the following: Passport/Driver’s License/National Identity Card lot no.

lot description

ABSENTEE BID

PHONE BID

BACK-UP BID

USD ($) L IMIT EX C L .

BUY E R’S P REM I U M

PL EAS E C H EC K

F O R T EL EPH O N E B I D D ER S O N LY

1338 WEST LAKE STREET CHICAGO, ILLINOIS 60607 PH 312.280.1212 FX 312.280.1211 EM BID@HINDMANAUCTIONS.COM HINDMANAUCTIONS.COM

How did you hear about Hindman?

WE INVITE YOU TO CONSIGN WITH US UPCOMING AUCTIONS SALE 788

AMERICAN AND EUROPEAN ART Wednesday, September 30 | 10:00AM CT Chicago | Live + Online SALE 789

POST WAR AND CONTEMPORARY ART Thursday, October 1 | 10:00AM CT Chicago | Live + Online SALE 790

PRINTS AND MULTIPLES Thursday, October 1 | 2:00PM CT Chicago | Live + Online CONSIGNMENT INQUIRIES hindmanauctions.com 1338 West Lake Street Chicago, Illinois 60607 312.280.1212

Thomas Hart Benton (American, 1889 - 1975) Still Life, 1962, oil and tempera on masonite Sold for: $462,500

1338 West L ake Street Chicago, Illinois 60607 l ph 312.280.1212 l hindmanauctions.com