Sale 869 | American & European Art

AMERICA N & E UROPE A N ART 5 | 3 | 2021

AMERICAN & EUROPEAN ART Including Property from the Collection of Noel and Kathryn Dickinson Wadsworth, Atlanta, Georgia SALE 869 Monday, May 3, 2021 | 10am CT | Chicago Lots 1–136 P R E V I E W B Y A P P O I N T ME N T O N LY P RO P E R T Y P I C K U P H O U R S Monday - Friday | 9:00am – 4:30pm By appointment only.

All property must be paid for within seven days and picked up within thirty days per our Conditions of Sale.

PHOTOGRAPHERS Zoë Bare Avery Campbell Alexandria Dreas Alex Mikev Amelia Moore Rachel Smith CONTENTS American Art Lot 1-66 European Art Lot 67-136 Auction Inquiries Artist Index Conditions of Sale

6-55 56-113 115 116 120

T O VIEW T HE COMP LET E CATALOGUE AND SIGN UP T O BID, VISIT HINDMANAUCT IONS.COM DOWNLOAD OUR AP P AT T HE AP P LE ST ORE OR GOOGLE P LAY ST ORE

FRONT COV E R Lot 81 | Henri Le Sidaner, Jets d'eau sur le ciel, 1937

© Hindman LLC 2021 ILLINOIS AUCTION FIRM LICENSE NUMBER 444.000521

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The Collection of Noel and Kathryn Dickinson Wadsworth, Atlanta, Georgia Noel and Kathy Wadsworth’s appreciation of American history was captured through their art, furniture, and decorative collection.

Noel and his late wife, Kathy, are among the original founders of the Auburn Fine Arts Museum, contributing the gallery that bears their name: The Noel and Kathryn Dickinson Wadsworth Gallery. A portion of their art collection was loaned to the museum and featured in the exhibition, Auburn Collects. The Wadsworth's curated collection was also featured in Time magazine in the early 1980s.

The couple met at Auburn University and were members of the first graduating class in June 1960. Following graduation, they moved to Dalton, Georgia, the epicenter of the American Carpet Industry, where Noel's career and their family thrived. Philanthropic and community-minded, they eventually settled in Atlanta, Georgia and filled their Marietta home with furniture, décor, and art that spanned the ages—from Colonial to Art Nouveau.

An interest in American art grew after traveling to shows and auctions in New York, New Orleans, London, and Paris. The couple collected mostly American art from the late 19th and early 20th century with a focus on Ashcan school artists.

The Wadsworths, however, felt important European artists who were friends of the American artists represented in their collection were also needed to convey the full story of the period. The result became a lifelong decorative and fine art collection that reflects the eye of a discerning collector and will be offered through multiple auctions at Hindman this spring.

O P P O SI T E Lot 35 | George Luks, Mercedes in a Satin Dress, 1933

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P RO P E R T Y F RO M T H E T R U S T S A N D E S TAT E S O F Joan Conway Crancer, St. Louis, Missouri Lynne Meyers Gordon, Indianapolis, Indiana The George M. Irwin Trust, Quincy, Illinois The Joshua B. Kind Trust, Downers Grove, Illinois A Midwest Collector, Milwaukee, Wisconsin Mr. and Mrs. Robert Nash, Longfield Farm, Prospect, Kentucky Spitalny Pearson, Phoenix, Arizona Miriam B. Swanson Trust, Chicago, Illinois Avis Hope Truska, Scottsdale, Arizona 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 L. Harrison Bernbaum, Naples, Florida Virginia M. Byington, Canton, Ohio Christine Double, Wauwatosa, Wisconsin Steven Huffines, San Francisco, California A Lady, Massillon, Ohio The Michael Hall Collection, Miami Beach, Florida Will Munyon, Thousand Oaks, California The Museum of Fine Arts, St. Petersburg, Florida A Private Chicago Collection A Private Collector, Atlanta, Georgia A Private Collection A Private Collection, Chicago, Illinois A Private Collection, Taos, New Mexico Dr. Robert C. Springborn and Mrs. Carolyn J. Springborn, Naples, Florida Leonard Stark, Chicago, Illinois William and Sharon Treul, Pewaukee, Wisconsin Noel and Kathryn Dickinson Wadsworth, Atlanta, Georgia

O P P O S I TE Lot 75 | Jean Dufy, Clown Musiciens

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AMERICAN ART LOTS 1 – 66

O P P O S I TE Lot 32 | Charles Burchfield Untitled (May Landscape), May 28, 1916

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*1 Robert Vickrey

*2 Robert Vickrey

*3 Robert Vickrey

Long, Long Shadows

Red Frisbee, Yellow Kerchief, 1989

Nun and Monarch, 1987

egg tempera on gesso panel signed Robert Vickrey (lower right) 36 x 48 inches.

egg tempera on gesso panel signed Robert Vickrey (lower left) 8 ½ x 12 inches.

egg tempera on gesso panel 9 x 13 inches.

Property from the Collection of Dr. Robert C. Springborn and Mrs. Carolyn J. Springborn, Naples, Florida

Property from the Collection of Dr. Robert C. Springborn and Mrs. Carolyn J. Springborn, Naples, Florida

Exhibited: Boca Raton, Florida, Boca Raton Museum of Art, Robert Vickrey: The Magic of Realism, April 26 – June 19, 2011

Provenance: Harmon-Meek Gallery, Naples, Florida

(AMERICAN, 1926-2011)

$6,000 - 8,000

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(AMERICAN, 1926-2011)

$3,000 - 5,000

(AMERICAN, 1926-2011)

Property from the Collection of Dr. Robert C. Springborn and Mrs. Carolyn J. Springborn, Naples, Florida Provenance: Harmon-Meek Gallery, Naples, Florida $3,000 - 5,000

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*4 Robert Vickrey

(AMERICAN, 1926–2011)

The Escapist, 1990 egg tempera on gesso panel signed Robert Vickery (lower left) 15 x 20 ¾ inches.

Property from the Collection of Dr. Robert C. Springborn and Mrs. Carolyn J. Springborn, Naples, Florida Provenance: Harmon-Meek Gallery, Naples, Florida $3,000 - 5,000

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*5 Robert Vickrey

(AMERICAN, 1926-2011)

Tourist Remnant, 1988 egg tempera on gesso panel signed Robert Vickrey (lower left) 9 ½ x 13 ½ inches.

Property from the Collection of Dr. Robert C. Springborn and Mrs. Carolyn J. Springborn, Naples, Florida Provenance: Harmon-Meek Gallery, Naples, Florida $3,000 - 5,000

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6 Peter Von Artens

(ARGENTINIAN, 1937-2003)

Hortencias, 2002 oil on canvas signed Peter von Artens (verso) 32 x 25 inches.

Property from a Private Collection Provenance: Sold: Matsart Auctioneers and Appraisers, New York, June 10, 2015, Lot 164 $15,000 - 25,000

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*7 Wolf Kahn

(AMERICAN/GERMAN, 1927–2020)

Five Trees, 1993 pastel on paper signed W Kahn (lower center) 8 x 10 inches.

Property from the Collection of Will Munyon, Thousand Oaks, California Provenance: Grace Borgenicht Gallery, New York $2,000 - 4,000

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8 Lawrence Lebduska (AMERICAN, 1894-1966)

Cows Grazing oil on canvas signed Lebduska (lower right) 24 x 30 inches.

Property from a Private Collection, Taos, New Mexico Provenance: Beatrice Abromson $3,000 - 5,000

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9 Orville Bulman

(AMERICAN, 1904-1978)

In the Jungle, 1967 oil on canvas signed Orville Bulman (lower right); signed and dated (verso) 25 x 30 inches. $20,000 - 30,000

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10 Orville Bulman

(AMERICAN, 1904-1978)

Chateau Avère, M. Morue. 332 oil on canvas signed Bulman (lower left); titled (center) 20 x 18 inches. $6,000 - 8,000

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11 Orville Bulman

(AMERICAN, 1904-1978)

Defense D’Afficher!, 1958 oil on canvas signed Bulman and titled (lower left); signed and dated (verso) 20 x 18 inches. $6,000 - 8,000

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12 Emmett Fritz

(AMERICAN, 1917–1995)

Exchanging the News oil on board signed Emmett Fritz (lower left) 25 x 30 inches.

Provenance: Grable’s Gift and Art Galleries, Oak Park, Illinois $3,000 - 5,000

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13 Pedro Figari

(URUGUAYAN, 1861-1938)

La Casa del Curandero, 1921 oil on board signed P. Figari and dated (lower right); titled and inscribed (verso) 13 x 15 ¾ inches.

Property from a Private Collection, Taos, New Mexico We are grateful to Mr. Fernando Saavedra Faget for his assistance confirming the authenticity of this lot.

Provenance: Sold: Sotheby’s, New York, May 16, 1989, Lot 104 Acquired from the above sale by the present owner Exhibited: Monteviedo, Uruguay, Exposición Pedro Figari, 1861-1938, organizada por la Comisión Nacional de Bellas Artes, August – September 1945 $10,000 - 15,000

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14 Joseph Stella

(AMERICAN, 1877–1946)

Magenta Waterlily silverpoint and crayon on paper 12 x 9 ½ inches.

Property from a Private Collection, Taos, New Mexico Provenance: The artist Sergio Stella, the artist’s nephew Richard York Gallery, New York Wendy Shankel Hoff, New York Acquired directly from the above by the present owner, December 1984 Exhibited: Nashville, Tennessee, Cheekwood Fine Arts Center, Joseph Stella: Botanical Drawings, ? – September 4, 1983 New York, School of Visual Arts, Joseph Stella, October 27 – November 22, 1983 $3,000 - 5,000

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15 Joseph Stella

(AMERICAN, 1877-1946)

Waterlily crayon and graphite on paper signed Joseph Stella (lower right) 11 x 14 inches.

Provenance: Estate of the artist Sergio Stella, the artist’s nephew David Settles Gallery, Houston, Texas $3,000 - 5,000

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16 John Graham

17 John Marin

*18 Andrew Wyeth

Still Life, c. 1923-31

Huntington and Vicinity, Long Island, New York, 1952

Dutch Country, 1949

(AMERICAN, 1886–1961)

oil on canvas 18 x 24 ¼ inches.

Provenance: The Artist Estate of the Artist Andre Emmerich Gallery, New York Private Collection Mark Borghi Fine Art, New York Acquired directly from the above by the present owner, 2008 $8,000 - 12,000

(AMERICAN, 1870-1953

(AMERICAN, 1917-2009)

oil on canvas signed Marin and dated (lower right) 12 x 16 inches.

Provenance: The Downtown Gallery, New York Private Collection Sold: Christie’s, New York, December 2, 1998, Lot 113 Literature: Sheldon Reich, John Marin: A Stylistic Analysis and Catalogue Raisonné, Part II, Tuscon, 1970, no. 52.21, p. 803, illus. $15,000 - 25,000

watercolor on paper signed Andy and inscribed (lower right) 11 ¼ x 16 ¾ inches Property from the Collection of Noel and Kathryn Dickinson Wadsworth, Atlanta, Georgia This work will be included in Betsy James Wyeth’s forthcoming catalogue raisonné of the artist’s work.

Provenance: Private Collection, Wellesley Hill, Massachusetts Private Collection Sold: Skinner, Boston, Massachusetts Fred D. Bentley, Sr., Marietta, Georgia Acquired directly from the above by the present owners, February 2005 Exhibited: Marietta, Georgia, Marietta Cobb Museum of Art, The Wyeths, N.C., Andrew, and Jamie, February 3, 1998 – May 3, 1998, no. 1372 $10,000 - 15,000

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*19 Andrew Wyeth

(AMERICAN, 1917-2009)

On Her Knees Study, 1977 graphite on paper signed A. Wyeth (center right) 24 x 18 inches.

Property from the Collection of Noel and Kathryn Dickinson Wadsworth, Atlanta, Georgia This work will be included in Betsy James Wyeth’s forthcoming catalogue raisonné of the artist’s work.

Provenance: The Andrew and Betsy Wyeth Collection, Chadds Ford, Pennsylvania, 1975 Private Collection, Malvern, Pennsylvania, 1986 Private Collection, Shibuya, Tokyo, Japan, 1989 Pacific Sun Trading Company, Wellesley, Massachusetts, 2005 Adelson Galleries, New York Acquired directly from the above by the present owners, December 2006

Exhibited: Washington, DC, National Gallery of Art, Andrew Wyeth – The Helga Pictures, May 24, 1987 – September 27, 1987, cat. no. 134, pp. 117; 197, illus. (also traveled to Boston, Museum of Fine Arts, October 28, 1987 – January 3, 1988; Houston, Museum of Fine Arts, January 31 – April 10, 1988; Los Angeles County Museum of Art, April 28 – July 10, 1988; San Francisco, Fine Arts Museums of San Francisco, August 13 – October 16, 1988; Detroit Institute of Arts, November 13, 1988 – January 22, 1989) New York, Adelson Galleries, Andrew Wyeth: Helga on Paper, November 3 – December 22, 2006, no. 46, pp. 74; 124, illus.

Palm Springs, Florida, Palm Springs Art Museum, Andrew Wyeth in Perspective, October 8, 2011 – January 22, 2012 $8,000 - 12,000

*20 Miguel Covarrubias (MEXICAN, 1904-1957)

Motion Picture Art in the Making, c. 1926 ink and gouache on paper signed Covarrubias (lower right) 12 ½ x 21 ½ inches.

Property from the Joshua B. Kind Trust, Downers Grove, Illinois This lot is accompanied by a certificate of authenticity signed by Adriana Williams.

This two-page illustration, “Motion Picture Art in the Making: An Actual Scene in a Studio, Showing Some Stages in the Evolution of a ‘Movie,’” was for Vanity Fair’s March 1926 issue. Below the printed illustration›s title was included the following text: "A diagram, Correct in Every Detail, by Covarrubias, Which Should dispel Many of the Romantic Notions (Dear to the heart of the Unsophisticated Public) Concerning the Mysteries of Film Making." $10,000 - 15,000

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*21 Federico Castellon (AMERICAN, 1914-1971)

The Agony of the Flesh, 1937 graphite on paper signed Federico Castellon, dated, and inscribed N.Y. (lower right) 15 x 11 inches.

Property from the Joshua B. Kind Trust, Downers Grove, Illinois $2,000 - 4,000

*22 Allen Tucker (AMERICAN, 1866-1939)

Stormy Mountains, 1915 oil on canvas signed Allen Tucker and dated (lower left) 25 x 30 inches.

Property from the Collection of Leonard Stark, Chicago, Illinois Exhibited: New York, The Art Students League of New York, The Allen Tucker Memorial: an Exhibition of Paintings, November 10 – December 6, 1980 $5,000 - 7,000

*23 Allen Tucker

(AMERICAN, 1866-1939)

Sunrise, N.E. Harbor, 1919

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oil on canvas signed Allen Tucker and dated (lower right); titled (stretcher) 25 x 30 ¼ inches.

Property from the Collection of Leonard Stark, Chicago, Illinois $3,000 - 5,000

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*24 Samuel Halpert

*25 William Samuel Horton

*26 William Samuel Horton

West Camp on the Hudson

Ritz Tower – Sun, Wind and Smoke, 1928

The Heckscher Tower-Early Candlelight

oil on canvas 35 x 45 inches.

oil on canvas signed W.S. Horton and dated (lower right); titled (stretcher) 37 x 42 inches.

oil on canvas signed W.S. Horton (lower left); titled (verso) 36 x 42 inches.

(AMERICAN, 1884-1930)

Property from the Collection of Leonard Stark, Chicago, Illinois Provenance: The Downtown Gallery, New York, by 1963 Sold: Sotheby’s, 1981 (possibly) Acquired directly from the above sale by the present owner Exhibited: Washington, DC, Board of Governors of the Federal Reserve System, Samuel Halpert, A Conservative Modernist, April 9 – May 31, 1991 (also traveled to Detroit, Michigan, Center Galleries, Center for Creative Studies, June 15 – July 26, 1991), no. 28, pp. 14; 20, illus. $4,000 - 6,000 22

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(AMERICAN, 1865-1936)

Property from the Collection of Leonard Stark, Chicago, Illinois Provenance: Galerie Charpentier, Paris Vose Galleries, Boston, Massachusetts $7,000 - 9,000

(AMERICAN, 1865-1936)

Property from the Collection of Leonard Stark, Chicago, Illinois Provenance: Hammer Galleries, New York $7,000 - 9,000

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*27 George Copeland Ault (AMERICAN, 1891-1948)

Japanese Iris, 1930 watercolor on paper signed G. C. Ault and dated (lower left); inscribed Wood Gaylor (lower left); inscribed (verso) 18 x 11 ¾ inches.

Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: Sid Deutsch Gallery, New York Private Collection, New York Martha Parrish & James Reinish, Inc., New York Acquired directly from the above, 2002 Exhibited: Huntington, New York, The Heckscher Museum, A Point of View, 20th Century American Art from a Long Island Collection, September 8 – November 4, 1990, no. 1, p. 24, illus.

Wood Gaylor was an artist who might have been given Japanese Iris by Ault. $6,000 - 8,000

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28 Richard Alan Schmid (AMERICAN, B. 1934)

Day Lilys and Roses, 1963 oil on canvas signed Schmid (lower left); signed, titled, dated, and inscribed (verso) 30 x 24 inches.

Provenance: Sold: Leslie Hindman Auctioneers, Chicago, May 15, 2011, Lot 185 Acquired directly from the above sale by the present owners $20,000 - 30,000

*29 Levi Wells Prentice (AMERICAN, 1851-1935)

Still Life with Seashells, c. 1892

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oil on canvas signed L.W. Prentice (lower right); signed (verso) 12 x 16 inches.

Property from the Collection of Noel and Kathryn Dickinson Wadsworth, Atlanta, Georgia Provenance: Glenn Peck, New York Robert M. Hicklin Jr., Inc., Spartanburg, South Carolina, acquired directly from the above, December 1996 The Charleston Renaissance Gallery, Charleston, South Carolina Acquired directly from the above by the present owners, February 2000 Exhibited: Memphis, Tennessee, Ledbetter Lusk Gallery, The South: A Story to Tell, 1997 Auburn, Alabama, Auburn University, The Jule Collins Smith Museum of Fine Art, Auburn Collects: The Noel and Kathryn Dickinson Wadsworth Collection, March 13 – May 21, 2004, pl. 6, p. 20, illus. $7,000 - 9,000

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*30 Gifford Beal

(AMERICAN, 1879-1956)

Hunters and Hounds, 1920 oil on canvas signed Gifford Beal (lower center); signed and titled (stretcher) 36 x 48 inches.

Property from the Collection of Leonard Stark, Chicago, Illinois Provenance: Kraushaar Galleries, New York Exhibited: New York, American Academy of Arts and Letters, 1956-57 $20,000 - 30,000

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*31 Arthur B. Davies

(AMERICAN, 1862-1928)

Memory of Italy oil on canvas signed AB Davies (lower center) 17 x 22 ¼ inches.

Property from the Collection of Noel and Kathryn Dickinson Wadsworth, Atlanta, Georgia Provenance: Graham Gallery, New York Exhibited: Atlanta, Georgia, High Museum of Art, Georgia Collects, January 24 – June 11, 1989 (also traveled to Savannah, Georgia, Telfair Academy of Arts and Sciences, April 18 – June 11, 1989), pp. 86; 203, illus.

Auburn, Alabama, Auburn University, The Jule Collins Smith Museum of Fine Art, Auburn Collects: The Noel and Kathryn Dickinson Wadsworth Collection, March 13 – May 21, 2004, pl. 15, p. 32, illus. $10,000 - 15,000 31 26

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32 Charles Burchfield (AMERICAN, 1893-1967)

Untitled (May Landscape), May 28, 1916 watercolor, gouache, and graphite on paper signed CE Burchfield and dated (lower right); dated (verso) 13 ½ x 19 ¼ inches.

Property from a Private Collection, Taos, New Mexico We are grateful for the research conducted

by Nancy Weekly, Burchfield Scholar, Burchfield Penney Art Center, Buffalo, New York.

Provenance: The Sisti Galleries, Buffalo, New York Sold: Sotheby’s, New York, December 5, 1985, Lot 255 (as May Landscape) Acquired directly from the above sale by the present owner The location depicted in the present lot is likely Bedford Glens, Ohio, located near Cleveland. On May 28, 1916, the artist recorded in his journal two entries:

“A hazy stagnant day of thunderclouds & a storm – (To Glens) – A dense fog in valley – turned yellow by sunset –/Fields are full of dandelion seed heads –” (Charles E. Burchfield, Journals 27b, May 28, 1916, pp. 63-64) “A momentary glympse (sic) into a forgotten world tonight at Bedford Glens — After a rainy day I went down into the immense valley at sunset time — a dense fog arose obscuring the sunlight but the afterglow turned it all to a rich yellow / up & down the valley was endless space, rapids frothed at my feet — the wet shore reeked with plants —/Afterwards I ascended the valley top — nothing was visible in the valley but white mists, which made it seem like the edge of the world, yet I could hear the water roaring./I heard the wood thrush’s wonderful song down in the cool dark blue-green valley —” (Charles E. Burchfield, Journals 28, May 28, 1916, pp.

44-45) $15,000 - 25,000

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*33 Everett Shinn

(AMERICAN, 1876-1953)

Cherry Lane Theater, 1948 oil on canvas signed Everett Shinn and dated (lower left) 19 x 22 inches.

Property from the Collection of Noel and Kathryn Dickinson Wadsworth, Atlanta, Georgia Provenance: Kraushaar Galleries, New York Private Collection, Philadelphia, Pennsylvania, 1961 By descent through the family Sold: Christie’s, New York, May 21, 2003, Lot 69 David Findlay Jr., Inc, New York Acquired directly from the above by the present owners $50,000 - 70,000

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Cherry Lane Theater, with its welcoming glow and crowd of people, documents a slice of New York theater life in the late 1940s. Still in existence in Greenwich Village, the Cherry Lane Theatre has long been a home for nontraditional and experimental works. Originally the site of a silo on the Gomez farm in 1817, the building that now stands at 38 Commerce Street was first erected as a brewery in 1836 and later served as a tobacco warehouse and box factory.

In 1923, theater artists Evelyn Vaughn, William S. Rainey, Reginald Travers, and Edna St. Vincent Millay converted the structure into a theater they named the Cherry Lane Playhouse. The famed scenic designer and architect Cleon Throckmorton was commissioned to do the alterations. The theater fueled some of the most ground-breaking experiments of the American stage, including the Downtown Theater movement, The Living Theatre, and Theatre of the Absurd, which all took root at the Playhouse.

Interest and involvement in theatrical activities permeated the life of Everett Shinn from his youth when his obsession with the circus led him to learn acrobatics and he later honed his illustration skills by creating poster for the local opera house. As a maturing artist, Shinn became a member of “The Eight,” with Robert Henri as mentor and proponent of the true representation of gritty, urban life. A trip to Europe in 1900 exposed the young artist to the dynamic and vibrant work of Édouard Manet and Edgar Degas, which further fueled his interest in the depiction of the theater. Shinn’s devotion to performance was not limited to his painting practice. He wrote plays that he produced in his New York home on Irving Place; served as an art director in Hollywood; produced public murals; and worked as an illustrator and interior designer.

The present artwork reveals Shinn’s facility as both an illustrator and creator of tightly composed scenes. Viewed from across the street, the milling crowd outside the theater is sketchily but deftly described. A solitary woman sits and smokes next to a couple on a bench; a man in tuxedo and woman wearing an evening gown converse; a crowd of curious onlookers wait outside the shadows.

The warm lights from the building spill out onto the sidewalk and envelopes the figures nearest in a convivial glow. The scene perhaps depicts intermission, capturing both the anticipation and tedium of the break in action. Unnoticed by the theatergoers, the dark shadow of a cat darts to the right but appears to look at the crowd as it runs by. Here, Shinn portrays the audience in the painting as actors themselves in an unknown play, for which the outside viewer can imagine the dramas and comedies within.

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34 Everett Shinn

(AMERICAN, 1876-1953)

Portrait of Mrs. Shinn Dressed as a Clown, 1915 pastel on paper signed Everett Shinn and dated (lower left) 12 ¾ x 8 ½ inches.

Property from a Private Collection, Taos, New Mexico Provenance: Sold: Sotheby’s, New York, December 4, 1986, Lot 258 Purchased directly from the above sale by the present owner $6,000 - 8,000

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*35 George Luks

(AMERICAN, 1867-1933)

Mercedes in a Satin Dress, 1933 oil on canvas signed George Luks (lower right) 20 x 16 inches.

Property from the Collection of Noel and Kathryn Dickinson Wadsworth, Atlanta, Georgia Provenance: The artist, Alfredo Valente, New York By descent through the family Owen Gallery, New York Debra Force Fine Art, New York Acquired directly from the above by the present owners, 2002 Exhibited: New York, ACA Galleries, George Luks, Retrospective Exhibition, November 27 – December 23, 1967, no. 46 Kinderhook, New York, Columbia Historical

Society, After Church: Artists in Midtwentieth Century Columbia County, New York, June 20 – August 31, 1997 Auburn, Alabama, Auburn University, The Jule Collins Smith Museum of Fine Art, Auburn Collects: The Noel and Kathryn Dickinson Wadsworth Collection, March 13 – May 21, 2004, pl. 18, pp. 34-37, illus.

Literature: Ruth Piwonka, Tom Wolf, and Michael Urbaitis, After Church: Artists in Midtwentieth Century Columbia County, New York, Kinderhook, New York, 1997, p. 12, illus. $10,000 - 15,000

*36 George Luks

(AMERICAN, 1867-1933)

At Mouquin, 1904 pen and ink and gouache on paper 6 ½ x 10 inches.

Property from the Collection of Noel and Kathryn Dickinson Wadsworth, Atlanta, Georgia Provenance: Gift from the artist to Mona Harrison Ira Glackens, Washington DC, bequeathed from the above, c. 1964 Kraushaar Galleries, New York Acquired directly from the above by the present owners According to a letter written by Ira Glackens, Luks gave the present work to the Scottish actress, Mona Harrison, when she was touring America with her husband Ned Fitzgerald and British acting star, Sir Charles Hawtrey. The letter accompanies this lot. $3,000 - 5,000

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*37 William Glackens

(AMERICAN, 1870-1938)

Girl with Violin, c. 1917 oil on canvas 48 x 30 inches.

Property from the Collection of Noel and Kathryn Dickinson Wadsworth, Atlanta, Georgia Provenance: Kraushaar Galleries, New York Acquired directly from the above by the present owners, 1988 Exhibited: Atlanta, Georgia, High Museum of Art, Georgia Collects, January 24 – May 26, 1989 Athens, Georgia, University of Georgia, Georgia Museum of Art, American Impressionism in Georgia Collections, September 11 – November 14, 1993 (also traveled to Charlotte, North Carolina, Mint Museum of Art, April 16 – June 19, 1994) Auburn, Alabama, Auburn University, The Jule Collins Smith Museum of Art, Auburn Collects: The Noel and Kathryn Dickinson Wadsworth Collection, March 13 – May 21, 2004, pl. 16, pp. 33-35, illus. $70,000 - 90,000

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Originally associated with the Ashcan School of artists, William Glackens came to be known as an American Impressionist and was compared to Manet and Degas by contemporary critics. Although Glackens closely interacted with Robert Henri and the Ashcan crowd—studying, sharing studio space, and traveling with them— he was drawn less to the rough, urban scenes and more to scenes of recreation and entertainment. He depicted the real but chose more ebullient themes than most of his friend from Philadelphia and the “Charcoal Club.” Art historian William H. Gerdts claims that Glackens exhibited a “commitment to the theme of urban and suburban pleasure grounds,” frequently depicting parks, gardens, beaches, dance halls, festivals, theatres, restaurants, and family gatherings.

In 1895 Glackens joined mentor Henri on a 15-month sojourn to Europe. He continued to travel throughout his career to the Continent, often visiting Paris. It was here that the artist found inspiration in the art of the French Impressionists, particularly in the paintings of Pierre-Auguste Renoir. The first-hand exposure to Renoir’s work had a profound effect on Glackens’ approach to color, and the artist adopted a vivid palette with contrasting harmonies.

By the 1910s, the artist became known as a “figure specialist,” moving away from his earlier, populated landscapes, seascapes, and urban vistas, and concentrating more on individuals. Glackens did not intend these paintings as portraits, although he used specific models; the titles, such as Girl with Violin, affirm the ambiguity that he desired in these images. Noel Wadsworth, the present owner of this artwork, recounts a conversation that he had with Ira Glackens, the artist’s son: “Ira remembers the model for Girl with Violin. She frequently posed for William Glackens when Ira was a child, and she actually played the violin.”

In addition to this shift in subject matter, Glackens intensified his approach to light and color, revealing the continued influence of Renoir. Girl with Violin reflects his new preoccupation with individuals and colorism, while still referencing his interest in leisure and entertainment. Infused with jewel-like greens and contrasting deep reds, the painting presents the unidentified musician as if about to begin to play, her bow not yet in her hand. She raises her eyebrows laconically, as if to command a respectful silence from her audience. The work is representative of Glackens’ impressionistic approach, with its broad, feathery brushwork and interest in entertainment as subject matter.

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*38 Harriet Whitney Frishmuth (AMERICAN, 1880-1980)

The Star, 1918 bronze with brown patina Inscribed © HARRIET W. FRISHMUTH 1918 (on the base); stamped GORHAM CO. Q505 and inscribed #225 (along the base) Height: 19 ¼ inches.

Property from the Collection of Noel and Kathryn Dickinson Wadsworth, Atlanta, Georgia Literature: Janis Conner, Frank Hohmann, Leah Rosenblatt Lehmbeck, and Thayer Tolles, Captured Motion: The Sculpture of Harriet Whitney Frishmuth, A Catalogue of Works, New York, 2006, no. 1918:3, pp.

20, 30-1, 66-7, 80, 99, 106, 143-45, 148, 220, 237 (another cast illustrated) $8,000 - 12,000

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The present lot is a posthumous cast produced by the present owner and Lincoln Kirstein, in 1982-83, at Modern Art Foundry, New York. This bronze is one among an edition of eight casts. No known editions of this model were produced in bronze during the artist's lifetime and the present cast was not authorized by the artist's estate.

39 Elie Nadelman

(AMERICAN, 1882-1946)

Head of a Man in a Top Hat bronze numbered 4/8, stamped with conjoined initials of the Modern Art Foundry MA and stamped with the symbol of the Art Founders Guild, model by 1914, cast 19821983 Height: 18 inches.

Property from the Michael Hall Collection, Miami Beach, Florida Literature: Lincoln Kirstein, Elie Nadelman, New York, 1973, p. 293, no. 67 (the plaster cast referenced) $60,000 - 80,000

The plaster from which this work was cast is in the collection of the Los Angeles County Museum of Art. According to Lincoln Kirstein, this plaster model served as the prototype for the painted brass Man in a Top Hat, circa 1920-24, which is in the collection of the Museum of Modern Art, New York. (L. Kirstein, Elie Nadelman, New York, 1973, p. 293) Note: By all accounts, Michael Hall, actor, collector and art dealer, was a memorable character who led a truly remarkable life. Michael delighted in being outrageous frequently the life of the party, always with an entertaining repertory of anecdotes and jokes. Michael was also a very serious collector with an inquisitive nature, extremely passionate and opinionated concerning his chosen field of Renaissance and Baroque art, and was always willing to share his vast knowledge.

Michael was mentored by Wilhelm Valentiner, a specialist in Italian Renaissance art and then a consultant to what would become the Los Angeles County Museum of Art. Through Valentiner, Hall was introduced to Sir John Pope-Hennessy and Sir Kenneth Clark, and formed friendships with a number of authorities including Rudolf Wittkower, H.W. Janson and Francis Watson.

In 1963, Hall moved to New York, and with William Mills, opened a gallery at 6 East 79th Street. His clients grew to include among others, Charles and Jayne Wrightsman, the Metropolitan Museum of Art, Museum of Fine Art, Boston, Los Angeles County Museum of Art, and the Detroit Institute of Art. In later years, Michael and his husband, Thomas divided time between their Florida, New York and Connecticut residences, but never stopped enjoying and collecting decorative arts. Those who knew Michael would agree his passion for collecting knew no bounds.

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40 Paul Manship

(AMERICAN, 1885-1966)

John Barrymore polished bronze inscribed and dated Paul · Manship SC · M · C · M · X · X · John Barrymore, stamped with conjoined initials of the Modern Art Foundry MA and stamped with the symbol of the Art Founders Guild (underneath the base) Height: 18 inches.

Property from the Michael Hall Collection, Miami Beach, Florida The present lot is a posthumous cast produced by the late Michael Hall with Modern Art Foundry in 1981.

John Barrymore achieved fame during the silent film era, during which time he received the nickname “The Great Profile” based on his striking facial features that are captured in Manship’s rendition in the present work.

Literature: For complete details please visit Hindmanauctions.com. $6,000 - 8,000 40

41 Rolf Armstrong

(AMERICAN, 1890-1960)

Nude with Right Arm on Head, c. 1950s oil on masonite signed Rolf Armstrong (lower right) 41 ½ x 29 ¾ inches.

Provenance: Louis K. Meisel Gallery, New York $3,000 - 5,000

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42 Joseph Kleitsch

*43 Thomas Waterman Wood

The Artist’s Wife and Son in a Garden, 1916

My Sister-in-Law, 1857

oil on canvas signed J. Kleitsch (lower right) 60 x 40 inches.

oil on canvas 17 ¾ x 13 ¾ inches.

(AMERICAN/HUNGARIAN, 1882-1931)

$30,000 - 50,000

(AMERICAN, 1823-1903)

Property from the Collection of Noel and Kathryn Dickinson Wadsworth, Atlanta, Georgia This lot is included in the forthcoming catalogue raisonné of the works of Thomas Waterman Wood being prepared by Paul Worman for the T.W. Wood Art Gallery in Montpelier, Vermont.

Provenance: William H. Brune, Baltimore, Maryland, 1857 Fred D. Bentley Sr., Marietta, Georgia, by 1993 Acquired by the present owners by 2004 Exhibited: Auburn, Alabama, Aubun University, The Jule Collins Smith Museum of Fine Art, Auburn Collects: The Noel and Kathryn Dickinson Wadsworth Collection, March 13 – May 21, 2004, pl. 5, p. 19, illus. $2,000 - 4,000 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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44 Guy Pène Du Bois (AMERICAN, 1884-1958)

On Staten Island, 1936 oil on canvas signed Guy Pène du Bois and dated (lower left) 20 x 16 inches.

Provenance: Kraushaar Galleries, New York Exhibited: New York, Kraushaar Galleries, Exhibition of Paintings by Guy Pène du Bois, November 11 – 28, 1936, no. 6 New York, Kraushaar Galleries, Paintings

by Guy Pène du Bois, November 15 – December 10, 1938, no. 38 Pittsburgh, Pennsylvania, Carnegie Institute, An Exhibition of Paintings by Guy Pène du Bois from 1908 to 1938, January 4 – 22, 1939, no. 36 $20,000 - 30,000

45 Gerald Leslie Brockhurst (AMERICAN, 1890-1978)

Yedra graphite on paper signed G.L. Brockhurst (lower left) 15 x 11 inches.

Provenance: The Closson Art Galleries, Cincinnati, Ohio $3,000 - 5,000

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*46 Isamu Noguchi

(AMERICAN, 1904-1988)

Head of a Woman, c. 1925 charcoal on paper signed Isamu Noguchi (lower right); inscribed (upper left) 21 ¼ x 14 ¾ inches.

Property from the Estate of Lynne Meyers Gordon, Indianapolis, Indiana Provenance: Carl Solway Gallery, Cincinnati, Ohio Acquired directly from the above by the present owner, 1970 $2,000 - 4,000

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*47 Phillip Leslie Hale (AMERICAN, 1865-1931)

Girl with a Golden Cane, c. 1899 oil on canvas 36 x 30 inches.

Property from the Collection of Noel and Kathryn Dickinson Wadsworth, Atlanta, Georgia Provenance: The artist Daughter of the artist Franklin P. Folts, Boston, Massachusetts, by 1966 Sellars-Bentley Collection, Marietta, Georgia Acquired directly from the above by the present owners, by 1999 Exhibited: New York, Durand-Ruel Gallery, 1910 Pittsburgh, Pennsylvania, Carnegie Institute (possibly 1919) Boston, Massachusetts, Vose Galleries, Paintings and Drawings by Philip Leslie Hale, 1865-1931, from the Folts Collections, November 1 – December 2, 1966, no. 16, illus.

Athens, Georgia, Georgia Museum of Art, Before 1948: American Paintings in Georgia Collection, January 15 – March 14, 1999, no. 18, pp. 58-59, illus.

Auburn, Alabama, Auburn University, The Jule Collins Smith Museum of Fine Art, Auburn Collects: The Noel and Kathryn Dickinson Wadsworth Collection, March 13 – May 21, 2004, pl. 7, p. 21, illus. $10,000 - 15,000 47 42

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48 William Aiken Walker (AMERICAN, 1927-2011)

Negro Cabin in the South oil on board signed WAWalker. (lower left) 6 x 12 inches.

Property from a Private Collector, Atlanta, Georgia 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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Provenance: Kennedy Galleries, Inc., New York $6,000 - 8,000

*49 John Kelly Fitzpatrick (AMERICAN, 1888-1953)

Wetumpka, Spring, 1930 oil on canvas signed J. Kelly Fitzpatrick and dated (lower right) 16 x 20 inches.

Property from the Collection of Noel and Kathryn Dickinson Wadsworth, Atlanta, Georgia Provenance: George Crow The Charleston Renaissance Gallery, Charleston, South Carolina, acquired directly from the above, April 2003 Acquired directly from the above by the present owners, 2006 $8,000 - 12,000

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*50 Daniel Garber

(AMERICAN, 1880–1958)

Near Solebury, 1917 (repainted 1918) oil on canvas signed Daniel Garber (lower left) 30 ¼ x 25 ¼ inches.

Property from the Estate of Avis Hope Truska, Scottsdale, Arizona Accompanied by a photograph of the painting, which bears on the verso an inscription by the artist.

Provenance: The artist Private Collection, Chicago, purchased directly from the above By descent through the family to the present owner Exhibited: Philadelphia Art Alliance, November 13 – 16, 1918, no. 33 New York, Folsom Galleries, Exhibition of Paintings by Daniel Garber, March 10 – 31, 1919, no. 10 Literature: Artist’s Record Book I, p. 19; II, p. 107 Yarnall Abbott, “An Appreciation of Daniel Garber, Landscape Artist: Great Painter Exhibits Canvases at the Art Alliance All This Week,” Philadelphia Press, November 17, 1918 “Daniel Garber at Folsom’s,” American Art News, no. 23, March 15, 1919, p. 3 Frederick James Trigg, “Daniel Garber Shows New Freedom in Work,” Herald (New York), March 23, 1919 Lance Humphries, Daniel Garber: Catalogue Raisonné, vol. II, New York, 2006, no. P374, p. 133, illus. $70,000 - 90,000

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A master of sparkling sunlight, Daniel Garber is widely thought of as one of the most influential Pennsylvania Impressionists. He studied in Europe for two years before returning to the United States in 1907, where he settled in Bucks County with his wife, Mary Franklin Garber. The bucolic landscape had enchanted the artist earlier, when he was introduced to the area by William Lathrop, then the leader of the New Hope School. Garber and his wife purchased a farmhouse in Cuttalossa Glen, a hamlet in the Delaware River Valley which offered inspirational scenic views. As Metropolitan Museum of Art Curator Sylvia Yount explains, “It was from his home base at Cuttalossa that Garber built his life - his career as a teacher, his reputation as a painter, and of course his work: vistas of quarries and forests along the Delaware; calm, transcendental domestic scenes with his family as subjects.” Garber transformed the property to reflect the ideal, picturesque world he envisioned, grooming both the land and the buildings on it.

Garber preferred to paint the Buck County views in the spring and summer, in order to better capture the verdant landscape at its most luxuriant. Near Solebury is no exception. Characteristic of Garber’s work in the 1910s, the landscape is divided into three distinct layers. The foreground is dotted with variegated leaves and grasses, while the mid-ground focuses on the lush, rolling hills, depicted in jeweled tones of green and blue. The sky fills nearly the entire upper half of the composition, awash in pastel pinks, blues, and whites. Two trees divide the layers and provide a visual contrapuntal to the horizontals of the landscape, a technique frequently used by the artist. The brushstrokes that define the foreground elements are distinct and contrast against the hazy, dream-like valley and sky.

Garber’s expert handling of colors suggests the subtle effects of light and shadow and gives the impression the sun is shimmering through lacy leaves and grasses.

A charcoal drawing (Private Collection, Pennsylvania) related to the present artwork shows a woman walking under the trees. Since Garber recorded that he repainted Near Solebury in 1918, it is possible that the canvas originally contained the figure as well. By leaving the landscape uninhabited, the artist deepens the tranquility of the scene and allows it to act as a warm memory of an idyllic day.

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*51 Edward Willis Redfield

52 George William Sotter

The Peaceful Stream in Winter

Winter Night, 1945

oil on canvas signed E.W. Redfield (lower right) 32 x 28 inches.

oil on canvas signed G.W. Sotter and dated (lower right) 32 x 36 inches.

Property from the Estate of Avis Hope Truska, Scottsdale, Arizona

Property from the Collection of a Lady, Massillon, Ohio

This painting will be included in the forthcoming catalogue raisonné of Edward Redfield’s work being compiled by Dr. Thomas Folk.

$50,000 - 70,000

(AMERICAN, 1869–1965)

(AMERICAN, 1879-1953)

Provenance: By descent through the family to the present owner $80,000 - 120,000 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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*53 Walter Koeniger

(AMERICAN/GERMAN, 1881-1943)

Winter Stream oil on canvas signed W. Koeniger (lower left) 37 ½ x 44 ¼ inches.

Property from the Collection of Leonard Stark, Chicago, Illinois $4,000 - 6,000

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*54 George Gardner Symons (AMERICAN, 1863–1930)

Winter in New England oil on canvas signed Gardner Symons (lower right) 24 x 30 inches.

Property from the Estate of Avis Hope Truska, Scottsdale, Arizona $10,000 - 15,000

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*55 Hayley Lever

(AMERICAN, 1876-1958)

St. Ives Harbor, c. 1906 oil on canvas signed Hayley Lever (lower left) 30 x 50 inches.

Property from the Collection of Leonard Stark, Chicago, Illinois Provenance: Estate of Richard Hayley Lever Kennedy Galleries, New York & Mongerson Gallery, Chicago $15,000 - 25,000

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*56 Agnes Millen Richmond (AMERICAN, 1870-1964)

Gloucester Docks, c. 1915 oil on canvas bears estate stamp (verso) 24 x 20 inches.

Property from the Collection of Noel and Kathryn Dickinson Wadsworth, Atlanta, Georgia Provenance: Estate of the artist Knoke Fine Arts, Marietta, Georgia Acquired directly from the above by the present owners Exhibited: Auburn, Alabama, Auburn University, The Jule Collins Smith Museum of Fine Art, Auburn Collects: The Noel and Kathryn Dickinson Wadsworth Collection, March 13 – May 21, 2004, pl. 14, p. 31, illus. $2,500 - 3,500

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57 Mary Nicholena MacCord (AMERICAN, 1864-1955)

Looking Toward the Sea oil on canvas signed Mary Nicholena MacCord (lower left); titled (verso) 25 x 30 inches.

Provenance: Sold: Bonham’s, San Francisco, December 10, 1997, Lot 3068 R.H. Love Galleries, Chicago Property from a Private Chicago Collector Sold: Leslie Hindman Auctioneers, Chicago, September 29, 2016, Lot 157 Acquired directly from the above sale by the present owners $8,000 - 12,000

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*58 Abel George Warshawsky (AMERICAN, 1883–1962)

The Rhone at Avignon, 1926 oil on canvas signed A.G. Warshawsky and dated (lower right) 18 x 21 ½ inches.

Property from the Estate of Spitalny Pearson, Phoenix, Arizona Provenance: The artist Mrs. Meyer Spitalny, Phoenix, Arizona By descent through the family to the present owner This lot is accompanied by a letter from the artist to Mrs. Meyer Spitalny. $3,000 - 5,000

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59 Gari Melchers

(AMERICAN, 1860-1932)

St. Lucia watercolor, gouache, and graphite on paper signed G. Melchers (lower left) 14 x 18 inches.

Property from a Private Collection, Taos, New Mexico Provenance: John Hanna, Inc., Detroit, Michigan Acquired directly from the above by the present owner $2,000 - 4,000

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60 William Stanley Haseltine (AMERICAN, 1835-1900)

Italian Coastline watercolor and pastel on paper initialed WS.H. (lower right) 13 x 19 inches.

Property from a Private Collection, Taos, New Mexico Provenance: Wendy Shankel Hoff, New York Acquired directly from the above by the present owner $3,000 - 5,000

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*61 Albert Bierstadt

(AMERICAN, 1830-1902)

Golden Gate, c. 1871-1873 oil on paper laid to board signed with conjoined initials ABierstadt (lower right) 12 x 17 ½ inches.

Property from the Estate of Spitalny Pearson, Phoenix, Arizona We wish to thank Melissa Webster Speidel, President of the Bierstadt Foundation and Director of the Albert Bierstadt catalogue raisonné project, for her kind assistance in cataloguing this lot. This painting will be included in her database being compiled on the artist’s work.

Provenance: Private Collection, New York By descent through the family to the present owner $30,000 - 50,000

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From 1871-1873, Bierstadt spent most of his time in San Francisco, California, using the city as a base to explore California. He established a studio at the top of Clay Street, overlooking the San Francisco Bay. Here, he produced many oil sketches of the Bay Area and several finished oil paintings.

Throughout his career, the artist produced dozens of cloud studies, a group in which Golden Gate is included. In the present work, he focused on the low-hanging bank of fog, with the filtered sunlight highlighting the clouds’ shapes. The water, landscape, and boats are sketchily but deftly rendered. The sun has broken through the fog in the distance, bathing the far hills in light. It exemplifies his mastery at creating the illusion of depth even in the simplest of landscapes.

Similar oil sketches of the Bay Area include Port Richmond, Bay of San Francisco (Christie’s, New York, December 4, 2008, Lot 68) and Alcatraz, San Francisco Bay, 1875 (Bonham’s, New York, November 22, 2010, Lot 11). At approximately the same size as Golden Gate, and also oil on paper, the focus of these oil studies is the clouds and play of light and dark to reveal their forms.

62 James Gale Tyler

(AMERICAN, 1855-1931)

Ships at Sea, 1885 oil on canvas signed James G. Tyler and dated (lower left) 44 x 34 inches.

Provenance: Estate of Arthur E. Pew, Philadelphia, Pennsylvania and Oyster Bay, New York Private Collection, Oyster Bay, New York, acquired from the above, November 1993 Sold: Heritage Auctions, Dallas, Texas, May 27, 2010, Lot 79180 $7,000 - 9,000

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63 John Grabach

(AMERICAN, 1886-1981)

Man Aloft in the Rigging oil on panel signed John R. Grabach N.A. (lower right) 7 ½ x 9 ½ inches. $1,500 - 2,500

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64 Elliott Daingerfield

*65 George Loring Brown

*66 Jay Hall Connaway

Untitled

Morning, View of the Chillon Castle, Switzerland, the Alps in the Distance, c. 1882-83

Moon Watching

(AMERICAN, 1859-1932)

oil on artist’s board signed Elliott Daingerfield (lower left) 9 ½ x 13 ½ inches.

(AMERICAN, 1814-1889)

(AMERICAN, 1893–1970)

Property from a Private Collection, Taos, New Mexico

oil on canvas signed G.L. Brown and dated (lower right); signed, dated, and titled (verso) 16 x 24 inches.

Provenance: Thomas A. McGraw

Property from the Museum of Fine Arts, St. Petersburg, Florida

$3,000 - 5,000

Provenance: Rabin & Krueger Gallery, Newark, New Jersey, by August 1964 Mark Sheppard Gift of the above to the present owner, 1964

oil on board signed Connaway (lower right) 25 x 30 inches.

Property from the Museum of Fine Arts, St. Petersburg, Florida Provenance: G. Gordon Coughlin, Jr. Gift of the above to the present owner, 1992 $4,000- 6,000

$3,000 - 5,000

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EUROPEAN ART LOTS 67 – 136

O P P O S I TE Lot 90 | Louis Valtat, Pommes, c. 1910-1912

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67 Lê Ph

68 Lê Ph

Fleurs

Fleurs

oil on canvas signed Le Pho and in Chinese characters (lower left); titled and inscribed (stretcher) 23 ½ x 14 ½ inches.

oil on canvas laid to masonite signed Le Pho and in Chinese characters (lower right) 20 ¾ x 24 ¾ inches.

Property from the Estate of Mr. and Mrs. Robert Nash, Longfield Farm, Prospect, Kentucky

Property from the Estate of Mr. and Mrs. Robert Nash, Longfield Farm, Prospect, Kentucky

This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Lê Ph , currently underway.

This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Lê Ph , currently underway.

Provenance: The artist’s studio, Paris, 1969 Findlay Galleries, Chicago, September 1969 Acquired directly from the above, November 1970 Thence by descent through the family to the present owners

Provenance: Galerie Felix Vercel, New York Acquired directly from the above, December 1964 Thence by descent through the family to the present owners

(FRENCH/VIETNAMESE, 1907-2001)

$20,000 - 30,000

(FRENCH/VIETNAMESE, 1907-2001)

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70 Lê Ph

71 V Cao Đàm

Fleurs des Champs

Les marguerites jaunes

Composition, 1984

oil on canvas signed Le Pho and in Chinese characters (lower right); titled and inscribed (stretcher) 12 x 9 inches.

oil on canvas signed Le Pho and in Chinese characters (lower left); titled (stretcher) 18 ¼ x 10 ¾ inches.

oil on canvas signed Vu Cao Dam and dated (lower right); titled and inscribed (verso) 18 ¼ x 21 ¾ inches.

Property from a Private Chicago Collection

This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Lê Ph , currently underway.

This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Vu Cao Đàm, currently underway.

Provenance: The artist’s studio, Paris, 1977 Findlay Galleries, Chicago, November 1977 Private Collection, acquired directly from the above, November 1980

Provenance: The artist’s studio, Paris, 1984 Findlay Galleries, Chicago, November 1984 Private Collection, acquired directly from the above, November 1985

$7,000 - 9,000

$15,000 - 25,000

(FRENCH/VIETNAMESE, 1907–2001)

This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Lê Ph , currently underway.

Provenance: The artist’s studio, Paris Findlay Galleries, Chicago, March 1974 Private Collection, acquired directly from the above, March 1974

(FRENCH/VIETNAMESE, 1907–2001)

(FRENCH/VIETNAMESE, 1908–2000)

$7,000 - 9,000 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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Foujita was born in Tokyo in 1886 and enjoyed a very privileged youth. He studied at the Tokyo School of Fine Arts but he was not successful academically. Foujita himself said he believed that of the 30 members of his graduating class that he was ranked 16th and one of his teachers at his graduation held up his final project, a Self Portrait as an example of “how one should not paint”. This early life embarrassment only seemed to strengthen Foujita’s resolve and encouraged him to leave his native Japan and to realize his dreams in the center of the artworld, which in the first quarter of the 20th century was Paris.

72 Léonard Tsuguharu Foujita (FRENCH/JAPANESE, 1886-1968)

Les Deux Amies, 1957 oil and ink on canvas signed Foujita (lower right) 18 ¼ x 13 inches.

This lot is accompanied by a certificate of authenticity issued by Sylvie Buisson.

Provenance: Findlay Galleries, Chicago $150,000 - 250,000

Foujita arrived in Paris in 1913 and found residence in the artistic community of Montparnasse, ready to become a Western artist. He came to Paris with a great deal of excitement and enthusiasm, but his French language skills were not advanced. According to Phyllis Birnbaum in her book Glory in a Line a French woman who knew Foujita described his French as “fluent but bad”. His lack of French did not deter him, and he became an integral part of the milieu of the roaring 20’s and was the only Japanese member of what we now call the School of Paris. He met countless iconic artists including Amedeo Modigliani, Chaim Soutine, Diego Rivera, Isadora Duncan and became friends with Pablo Picasso and Henri Matisse. In many ways Foujita was as well-known and equally regarded at this place and time as these Modern masters.

The success he enjoyed in Paris in the 1920’s was followed by a somewhat nomadic life in the 1930’s. He spent time in New York and South America, specifically Brazil and Argentina. He then returned to Japan and during World War II supported his native Japan and created a huge number of paintings depicting Japanese soldiers during the war. Upon the defeat of the Japanese army Foujita was dishonored and scorned for his nationalism. This had a lasting effect on him, and he left Japan permanently at the end of the 1940’s and returned to Paris.

Towards the end of his life in France he converted to Catholicism and changed his name to Leonard Foujita as an homage to Leonardo Da Vinci. His artistic output of this period is predominantly depictions of adolescents.

Painted in 1957 when Foujita was 71 years old, Les Deux Amies is a very intimate painting in scale at 18 x 13 inches. It depicts two stoic adolescents wearing formal attire who are set in front of a crumbling classical ledge with a cloud filled sky in the background. One of the girls is slightly taller than the other and they have the appearance of sisters or close friends. They both appear very serious and almost meditative, gazing seemingly beyond us as the viewer. They each have one hand intertwined and the older girl’s right thumb and index finger is in a pose that appears she could easily be holding a flower or note. The composition and drapery are heavily influenced by works from the Italian Renaissance and the faces appear to be a reaction to 20th century surrealism, which shows Foujita’s continued interest in the West. The figures are outlined in black ink and the surface of the painting is razor thin which harkens back to his use of traditional Japanese techniques, making this work a classic example of Foujita’s melding of two different worlds.

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73 Léonard Tsuguharu Foujita (FRENCH/JAPANESE, 1886-1968)

Femmes et bébé sur la plage, 1917 watercolor on paper laid to board signed L. Foujita, dated, and inscribed (lower right) 21 ½ x 18 inches.

This lot is accompanied by a certificate of authenticity issued by Sylvie Buisson.

Provenance: Sold: Christie’s, New York, November 13, 1985, Lot 129 Acquired directly from the above sale by the present owner $40,000 - 60,000

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*74 Jean Dufy

(FRENCH, 1888-1964)

Vue de Balcon, 1926 oil on canvas signed Jean Dufy and dated (lower right) 21 ½ x 18 inches.

Property from the Miriam B. Swanson Trust, Chicago, Illinois This lot will be included in the forthcoming third volume of the catalogue raisonné being prepared by Jacques Bailly, with certificate no. 4805.

Provenance: Galleries Maurice Sternberg, Chicago Acquired directly from the above, March 1973 $40,000 - 60,000 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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75 Jean Dufy

(FRENCH, 1888-1964)

Clown Musiciens watercolor and gouache on paper laid to canvas signed Jean Dufy (lower left) 19 ¾ x 25 inches.

This lot will be included in the forthcoming third volume of the catalogue raisonné being prepared by Jacques Bailly, with certificate no. 4812.

Provenance: Joe Shulman, New York Exhibited: Hartford, Connecticut, Wadsworth Atheneum, 1974 (temporary loan) $30,000 - 50,000

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*76 André Derain

(FRENCH, 1880-1954)

Buste de jeune garçon à la veste rouge, c. 1924-25 oil on canvas signed Derain (lower right) 16 ¼ x 14 ¾ inches.

Property from the Collection of Noel and Kathryn Dickinson Wadsworth, Atlanta, Georgia Provenance: Alex Reid & Lefevre, Ltd., London Adams Gallery, London Private Collection David Findlay Gallery, New York Acquired directly from the above by the present owners, by 2004

Exhibited: Auburn, Alabama, Auburn University, The Jule Collins Smith Museum of Fine Art, Auburn Collects: The Noel and Kathryn Dickinson Wadsworth Collection, March 13 – May 21, 2004, pl. 22, p. 45, illus.

Literature: Michel Kellermann, André Derain, Catalogue raisonné de l’œuvre peint, Paris, 1996, vol.

II, no. 972, p. 166 (illus.) $10,000 - 15,000

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*77 Henri Jean Guillaume Martin (FRENCH, 1860-1943)

Deux femmes assises auprès d’une voiture d’enfant oil on canvas signed Henri Martin (lower right) 23 ½ x 25 ¾ inches.

Property from the Miriam B. Swanson Trust, Chicago, Illinois This lot will be included in the forthcoming catalogue raisonné currently being prepared by Marie-Anne Destrebecq-Martin.

Provenance: Sold: The Trosby Galleries, Palm Beach, Florida, February 4 – 5, 1969, Lot 37 (as The Governess in the Park) 68

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Galleries Maurice Sternberg, Chicago Acquired directly from the above, March 1973 In 1935, Henri Martin was commissioned to create five canvas murals for the escalier d’honneur in the townhall of Paris’s 5th arrondissement, on the Place du Panthéon.

The large paintings depict everyday sights within the Luxembourg Gardens, located in the 6th arrondissement. Deux femmes assises auprès d’une voiture d’enfant, two women relaxing on bench with a baby carriage, is analogous to a scene in the Parisian murals. $30,000 - 50,000

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*78 Henri Jean Guillaume Martin (FRENCH, 1860-1943)

Un terrassier (A digger) oil on canvas signed Henri Martin (lower right) 24 ¼ x 18 ¾ inches.

Property from the Miriam B. Swanson Trust, Chicago, Illinois This lot will be included in the forthcoming catalogue raisonné currently being prepared by Marie-Anne Destrebecq-Martin.

Provenance: Kaplan Gallery, London Galleries Maurice Sternberg, Chicago Acquired directly from the above, June 1971

The present painting is associated with Martin’s program of decoration for the general assembly room of the Conseil d’Etat, located within the PalaisRoyal in Paris. In the 1920s, Martin was commissioned to paint murals for the Conseil d’Etat, a body of the French national government. Four canvases were executed and include allegories of “Agriculture,” represented by scenes of plowing, sowing, and harvesting; for “Commerce,” the port of Marseille; the construction of the Place de la Concorde for “Industry;” and a man walking through a forest with a book in his hand for “Intellectual Work.” The group bears the title of La France laborieuse presenting itself to the Council of State. An almost identical figure to Un terrassier (A digger) can be seen in the “Industry” mural.

$10,000 - 15,000 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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*79 Paul Signac

(FRENCH, 1863-1935)

Le Seine au Pont-Neuf, c. 1925 watercolor, charcoal, and graphite on paper inscribed P. Signac by an unknown hand (lower left) 11 x 17 inches.

Property from the Miriam B. Swanson Trust, Chicago, Illinois The authenticity of this lot has been confirmed by Marina Ferretti.

Provenance: Galleries Maurice Sternberg, Chicago Acquired directly from the above, March 1973 $15,000 - 25,000

80 Paul Signac

(FRENCH, 1863-1935)

Nice, 1921 watercolor, graphite, and gouache on paper signed P. Signac and dated (lower right) 11 x 16 ¼ inches.

Property from a Private Collection, Taos, New Mexico The authenticity of this lot has been confirmed by Marina Ferretti.

Provenance: Wendy Shankel Hoff, New York Acquired directly from the above by the present owner, May 1986 $15,000 - 25,000

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The twilit gardens and hushed city scenes of Henri Le Sidaner’s artworks conjure a seductive, mysterious world. Throughout his career, Le Sidaner remained chiefly concerned with capturing atmospheric light and favored a subdued use of color, preferring nuanced greys and opals applied with uneven, dappled brushstrokes. Le Sidaner developed his distinctive lexicon during the 1890s, under the influence of Symbolism. On a formal level, he found a suitably harmonious, all-over treatment for his compositions in Impressionism. This dual aspect of his art was touched on by the critic, and his supporter, Camille Mauclair who wrote: “born out of Impressionism, [Le Sidaner] is as much the son of Verlaine than of the snowscenes of Monet” (C. Mauclair, Henri Le Sidaner, Paris, 1928, p. 12).

*81 Henri Le Sidaner (FRENCH, 1862-1939)

Jets d’eau sur le ciel, 1937 oil on canvas signed Le Sidaner (lower left) 37 ¼ x 23 inches.

Property from the Miriam B. Swanson Trust, Chicago, Illinois Provenance: Louis Le Sidaner, Paris Galerie Lorenceau, Paris Galleries Maurice Sternberg, Chicago Acquired directly from the above, by July 1969 Exhibited: Paris, Galerie Charpentier, February – March, 1939, no. 9 Paris, Musée Galliéra, Rétrospective Henri Le Sidaner, April 1948, no. 49 Paris, Galerie Lorenceau, La Poésie de l’eau, March 1950, no. 5 Literature: Yann Farinaux-Le Sidaner, Le Sidaner: L’Oeuvre Peint et Grave, Paris, 1989, no.

776, p. 282, illus. $60,000 - 80,000

Born in 1862 in Mauritius, to Breton parents, in 1872 Le Sidaner’s family settled in Dunkirk, France. In 1882 he left for Paris to study at the École des BeauxArts under Alexandre Cabanel. However, Le Sidaner shortly after left because of artistic differences. He relocated to the Ètaples artist colony, which had a tradition of en plain air painting established by Charles-François Daubigny and of the local Deauville painter Eugène Boudin, a leading Post-Impressionist. In the late nineteenth-century numerous artists were drawn by the sand dunes, the atmospheric light and the remnants of an older France.

In 1895 Le Sidaner left Étaples and moved again to Paris, likely for career reasons.

The Paris stay was short but significant, as in 1898 he eloped to Bruges with Camille Navarre, to whom he was subsequently married. For Le Sidaner the years in Bruges were pivotal to his subsequent artistic career. It was here that he painted a series of nocturnes exploring the gloaming light around dusk. Although many of these artworks omit figures, around 1899, the artist executed a series of drawings that depict a standing woman and child, of which Flamande is included. The finished figure of the woman in this drawing is seen in profile and dressed in traditional Flemish costume. A simple line sketch of a small child can be seen standing within her embrace.

Keen to buy a rural home where he could create a garden and work in reflective solitude, Le Sidaner purchased a property in 1904 at Gerberoy in the Picardy countryside. Once at Gerberoy, the artist rarely depicted figures again, preferring to create enigmatic moods through clues that imply human presence. He also continued to try to capture the luminosity of dusk and evening, as seen in Maison au clair de lune, Gerberoy, c. 1902. The hushed quietude of this painting is created by the subtle interplay of the warm moonlight glow against the cottage’s façade with the dark night beyond. A light from a single window is seen, the only indication of the home’s occupation.

An inveterate traveler, Le Sidaner made his first trip to Venice in 1892 and the city made an everlasting impression on the artist. He visited again in 1906, when Le Quai au clair de lune, Venise, was likely executed. During this trip, Le Sidaner also completed a series of nocturne paintings: Le Grand Canal, Le Palais ducal, Le Palais Rouge and La Sérénade. These paintings were highly acclaimed for their ability to capture atmospheric lighting effects and used dappled brushwork to create a sense of the luminosity of twilight. In the present painting, the delicate blue and gray harmonies of sky, water, and land shimmer and refract, bestowing the scene with a magical, ethereal feeling.

Les Cygnes, Annecy, 1936, was also created during Le Sidaner’s travels. A picturesque town in Haute-Savoie, France, Annecy is about 22 miles south of Geneva, nestled between a range of mountains. The town is sometimes called the “Venice of the Alps,” due to the three canals and the Thiou river that run through the old city and into the northern end of Lac d’Annecy. The artist conveys the scintillating light as it bounces off the canal water utilizing short, broad brushstrokes of jewel-like green-blue hues. The floating white swans in the foreground and glowing lights beyond the trees that line the canal contribute to the romantic atmosphere.

Owing to the bitterly cold winters in Gerberoy, Le Sidaner wintered in Versailles beginning in 1914, the locale of Jets d’eau sur le ciel. Prosaically translated as “jets of water against the sky,” this painting reveals the artist’s evolution later in his career to choose brighter and clearer colors. The subtly worked contrasts and painterly application of pigment likewise show his return to the origins of Impressionism. The dancing water streams seem to celebrate the serenity and freedom of a mature artist who intimately understands how to achieve exquisite harmony within his paintings.

This lyrical example was included in Galerie Lorenceau’s 1950 exhibition, La Poésie de l’eau, as well as in exhibitions at Galerie Charpentier and the Musée Galliéra’s 1948 retrospective of the artist.

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*82 Henri Le Sidaner

*83 Henri Le Sidaner

*84 Henri Le Sidaner

Le Quai au clair de lune, Venise, c. 1906

Les Cygnes, Annecy, 1936

Maison au clair de lune, Gerberoy, c. 1902

oil on panel signed Le Sidaner (lower right); titled and dated (verso) 5 ½ x 8 ¾ inches.

oil on panel signed Le Sidaner (lower right) 5 ¾ x 7 ¼ inches.

oil on canvas signed Le Sidaner (lower left) 16 ¼ x 12 ¾ inches.

Property from the Miriam B. Swanson Trust, Chicago, Illinois

Property from the Miriam B. Swanson Trust, Chicago, Illinois

Provenance: Galleries Maurice Sternberg, Chicago Acquired directly from the above, December 1971

This lot is accompanied by a photocertificate signed by Louis Le Sidaner, the artist’s son.

(FRENCH, 1862-1939)

Property from the Miriam B. Swanson Trust, Chicago, Illinois Provenance: Galleries Maurice Sternberg, Chicago Acquired directly from the above, April 1973 Exhibited: Chicago, Galleries Maurice Sternberg, Le Sidaner, 1970, no. 28, illus.

Literature: Yann Farinaux-Le Sidaner, Le Sidaner: L’Oeuvre Peint et Grave, Paris, 1989, no.

960, p. 324, illus.

(FRENCH, 1862-1939)

(FRENCH, 1862-1939)

Literature: Yann Farinaux-Le Sidaner, Le Sidaner: L’Oeuvre Peint et Grave, Paris, 1989, no.

1266, p. 388, illus. $7,000 - 9,000

Provenance: Galleries Maurice Sternberg, Chicago Acquired directly from the above, by 1970 Literature: Yann Farinaux-Le Sidnaer, Le Sidaner: L’Oeuvre Peint et Grave, Paris, 1989, no.

901, p. 312, illus. $10,000 - 15,000

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*85 Henri Le Sidaner (FRENCH, 1862-1939)

Flamande, c. 1899 graphite on paper signed Le Sidaner (lower right) 7 ¼ x 3 ½ inches.

Property from the Miriam B. Swanson Trust, Chicago, Illinois Provenance: Galleries Maurice Sternberg, Chicago Acquired directly from the above, December 1973 Literature: Yann Farinaux-Le Sidaner, Le Sidaner: L’Oeuvre Peint et Grave, Paris, 1989, no.

846, p. 301, illus. $2,000 - 4,000 76

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*86 Victor Charreton (FRENCH, 1864-1936)

Paysage d’Automne oil on canvas signed Victor Charrenton (lower left); inscribed (verso) 21 ¼ x 25 ½ inches.

Property from the Miriam B. Swanson Trust, Chicago, Illinois Provenance: Sold: Drouot, Paris, 1969 Galleries Maurice Sternberg, Chicago Acquired directly from the above, December 1970 Literature: Robert Chatin and Bertrand Chatin, Victor Charreton: vie et ouevre, La Sauvetat, 1995, no. 426, p. 250, illus. $8,000 - 12,000 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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*87 Victor Charreton

*88 Victor Charreton

*89 Eugène Chigot

L’Hiver dans le Village

Le Bouquet

Voiliers au Port

oil on canvas signed Victor Charreton (lower right) 23 ½ x 28 ¾ inches.

oil on canvas signed Victor Charreton and inscribed (lower left) 23 ½ x 19 ½ inches.

oil on canvas signed Eug. Chigot (lower left) 21 ¾ x 18 inches.

(FRENCH, 1864-1936)

Property from the Miriam B. Swanson Trust, Chicago, Illinois This lot will be included in Volume III of the Catalogue Raisonné of Victor Charreton currently in preparation by the Association des Amis de Victor Charreton.

Provenance: Galleries Maurice Sternberg, Chicago Acquired directly from the above, March 1973 $8,000 - 12,000

(FRENCH, 1864-1936)

Property from the Miriam B. Swanson Trust, Chicago, Illinois This lot will be included in Volume III of the Catalogue Raisonné of Victor Charreton currently in preparation by the Association des Amis de Victor Charreton.

Provenance: Galleries Maurice Sternberg, Chicago Acquired directly from the above, March 1973 $4,000 - 6,000

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(FRENCH, 1860-1927)

Property from the Miriam B. Swanson Trust, Chicago, Illinois Provenance: Galleries Maurice Sternberg, Chicago Acquired directly from the above, October 1981 $3,000 - 5,000

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*90 Louis Valtat

(FRENCH, 1869-1952)

Pommes, c. 1910-1912 oil on canvas signed L. Valtat (lower right) 10 ¾ x 18 ¼ inches.

Property from the Miriam B. Swanson Trust, Chicago, Illinois A notice of inclusion in the archives of the Association of Friends of Louis Valtat will be given to the purchaser for this lot.

Provenance: Arthur Tooth & Sons, Ltd., London Galleries Maurice Sternberg, Chicago Acquired directly from the above, January 1977 $20,000 - 30,000

*91 Albert Andre

(FRENCH, 1869-1954)

La Table de déjeuner devant la treille, 19301940 oil on canvas signed Albert Andre (lower right) 14 ¼ x 37 ¾ inches.

Property from the Miriam B. Swanson Trust, Chicago, Illinois This lot will be included in the catalogue raisonné of the paintings by Albert André, currently in preparation by Béatrice Roche, Alain Girard, and Flavie Durand-Ruel.

Provenance: Galleries Maurice Sternberg, Chicago Acquired directly from the above, December 1971 $20,000 - 30,000

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92 Bernard Cathelin (FRENCH, 1919–2004)

Hortensias au coffre Gothique, 1994 oil on canvas laid to board signed Cathelin and dated (lower right) 51 ¼ x 38 ¼ inches.

Property from the Collection of L. Harrison Bernbaum, Naples, Florida Provenance: Buschlen Mowatt Gallery, Vancouver, Canada $10,000 - 15,000

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93 Bernard Cathelin (FRENCH, 1919-2004)

Nature morte grise et noire aux hortensias, 1995 oil on canvas laid to board signed Cathelin and dated (lower right) 29 x 39 ½ inches.

Property from the Collection of L. Harrison Bernbaum, Naples, Florida Provenance: Buschlen Mowatt Gallery, Vancouver, Canada $8,000 - 12,000

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94 Jules René Hervé (FRENCH, 1887-1981)

Place de la Concorde oil on canvas signed Jules R. Hervé (lower left); signed (verso) 18 x 21 ¾ inches. $3,000 - 5,000

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95 Antoine Blanchard (FRENCH, 1910-1988)

Arc de Triomphe, Paris oil on canvas signed Antoine Blanchard (lower right) 13 x 18 inches.

This lot 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 95

96 Gen Paul

(FRENCH, 1895-1975)

A Young Woman Playing the Guitar oil on masonite signed Gen Paul (upper left) 13 x 9 inches.

This work is to be included in the catalogue raisonné in preparation by the Gen Paul Committee. $3,000 - 5,000

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97 Hugues Claude Pissarro (FRENCH, B. 1935)

Le jet d’eau oil on canvas signed H. Claude Pissarro (lower left); signed and titled (verso) 18 ½ x 21 ¾ inches.

The authenticity of this work has been confirmed by Hugues Claude Pissarro and the archives of Stern Pissarro Gallery Ltd. $5,000 - 7,000

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98 Paul-Émile Pissarro (FRENCH, 1884–1972)

Bord de lac pastel on paper signed Paulémile Pissarro (lower right) 9 x 11 ½ inches.

Property from a Private Collection, Chicago, Illinois The present lot was authenticated by Katia Pissarro in a letter dated May 14, 1986, presently attached to the back of the frame.

Provenance: Property from the Collection of John W. Mills, Kenilworth, Illinois Leslie Hindman Auctioneers, Chicago, September 29, 2016, Lot 87 Acquired directly from the above sale by the present owners $2,000 - 4,000 98

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*99 Georges Manzana-Pissarro (FRENCH, 1871-1961)

Petit Lavoir du Pont Pierre, Moret-sur-Loing, 1902 oil on canvas signed G Manzana and dated (lower left) 21 ½ x 25 ½ inches.

Property from the Collection of Noel and Kathryn Dickinson Wadsworth, Atlanta, Georgia The authenticity of this lot has been confirmed by Lélia Pissarro and the archives of Stern Pissarro Gallery Ltd. Provenance: Mann Gallery, New Orleans, Louisiana Acquired directly from the above by the present owners, December 1998 Exhibited: Auburn, Alabama, Auburn University, The Jule Collins Smith Museum of Fine Art, Auburn Collects: The Noel and Kathryn Dickinson Wadsworth Collection, March 13 – May 21, 2004, pl. 26, p. 49, illus.

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$10,000 - 15,000

*100 Louis Auguste Mathieu Legrand (FRENCH, 1863-1951)

Bathers pastel on paper laid to canvas signed Louis Legrand (lower left) 21 x 28 ½ inches.

Property from the Collection of Noel and Kathryn Dickinson Wadsworth, Atlanta, Georgia Provenance: David S. Ramus, Ltd., Atlanta, Georgia $5,000 - 7,000

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101 Gaston Lachaise

(AMERICAN/FRENCH, 1882-1935)

Standing Nude Woman (Standing Woman with Right Hand Raised) [LF 28], model c.

1925/1926, cast February 1982 bronze inscribed © 1930 and G. Lachaise; stamped Lachaise Estate and 8/11; stamped with the insignia of the Modern Art Foundry, the Founder’s Guild, and 1982 Height: 11¾ inches.

Provenance: Lachaise Foundation, 1982 Robert Schoelkopf Gallery, New York, February 1982 – April 1983 Zabriskie Gallery, New York, March – April 1983 Robert Schoelkopf Gallery, New York, April – November 1983 Private Collection, New York, acquired directly from the above, November 1983 Exhibited: New York, Robert Schoelkopf Gallery, Gaston Lachaise: Twenty Sculptures, February 27 – March 24, 1982, n.p., illus. (as Standing Nude, 1921) Palm Springs, California, Palm Springs Desert Museum, Gaston Lachaise: 100th Anniversary Exhibition, Sculpture and Drawings, November 19 – December 19, 1982, cat. no. 18, pp. 19, 33, 43, illus. (as Standing Nude, c. 1921) New York, Zabriskie Gallery, Paul Strand: The Steiglitz Years at 291 (1915– 1917), March 22 – April 23, 1983, no. 39 (as Standing Nude) Literature: For complete details please visit Hindmanauctions.com.

We are grateful to Virginia Budny, author of the forthcoming catalogue raisonné sponsored by the Lachaise Foundation, for her assistance in preparing the catalogue entry for this work. $5,000 - 7,000

101

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*102 Gaston Lachaise

(AMERICAN/FRENCH, 1882-1935)

Woman on Divan (Woman on Sofa, Woman on a Couch) [LF 69] model circa 1919, revised 1923? (by 1928), cast 1979 bronze with brown patina stamped Lachaise Estate, numbered 7/11, inscribed Modern Art Fdry. N.Y. (base) Height: 9 inches.

Literature: For complete details please visit Hindmanauctions.com.

We are grateful to Virginia Budny, author of the forthcoming catalogue raisonné sponsored by the Lachaise Foundation, for her assistance in preparing the catalogue entry for this work. $10,000 - 15,000

Property from the Estate of Joan Conway Crancer, St. Louis, Missouri Provenance: Lachaise Foundation, Boston Robert Schoelkopf Gallery, New York, by 1982 Acquired directly from the above, February 13, 1982

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103 Henry Émilien Rousseau (FRENCH, 1875–1933)

Group of riders in a covered street, 1902 oil on board signed H.E. Rousseau and dated (lower left) 17 ½ x 21 ½ inches.

In October and November of 1902, Rousseau traveled to Tunisia. This artwork was likely inspired by his stay in Tunis at this time. A preparatory watercolor is currently held in the archives of the Association Henri Rousseau.

Provenance: The artist Mr. Printz, Brooklyn, New York, acquired directly from the artist, 1902 Newman Galleries, Philadelphia, Pennsylvania $15,000 - 20,000

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*104 Jules Worms

(FRENCH, 1832-1914)

Bartering the Donkey oil on canvas signed J Worms (lower right) 20 ½ x 29 ¼ inches.

Property from the Estate of Avis Hope Truska, Scottsdale, Arizona $5,000 - 7,000

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*105 Charles Clément Calderon (FRENCH, 1870–1906)

The Doge Palace from the Grand Canal, Venice oil on canvas signed C. Calderon; bears the artist’s stencil (verso) 18 ¼ x 25 ¾ inches.

Property from the Collection of Christine Double, Wauwatosa, Wisconsin $2,000 - 4,000

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*106 Gustave Jacquet (FRENCH, 1846-1909)

La Romance oil on canvas signed G Jacquet (lower right) 28 x 24 inches.

Property from the Estate of Avis Hope Truska, Scottsdale, Arizona $8,000 - 12,000

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107 Georges Bretegnier

*108 Leon Augustin Lhermitte

La Diaichotte Montbéliard, 1891

Femme au panier

oil on canvas signed G. Bretegnier and dated (lower right) 25 x 17 inches.

graphite on paper laid to board signed by another hand L. Lhermitte (lower left) 18 x 11 inches.

(FRENCH, 1863–1892)

$6,000 - 8,000

(FRENCH, 1844-1925)

Property from the Estate of a Midwest Collector, Milwaukee, Wisconsin The Comité Lhermitte has confirmed the authenticity of this lot and it will be included in the Supplement of the Catalogue Raisonné of the artist now in preparation by the Galerie Brame & Lorenceau and Monique le Pelley Fonteny. $4,000 - 6,000

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*109 David Wynne

(BRITISH, 1926-2014)

Two Dolphins, 1985 bronze with green patina signed David Wynne and numbered 3/6 (base) Height: 19 inches.

Property from the Collection of Dr. Robert C. Springborn and Mrs. Carolyn J. Springborn, Naples, Florida We are very grateful to Nicola Bennett for her assistance in preparing this catalogue entry.

Provenance: The artist Acquired directly from the artist by the present owners Literature: Jonathan Stone (ed.), The Sculpture of David Wynne 1974-1992, London, 1993, pp. 147, 158 (larger plaster version illustrated) The present lot is a maquette for a larger version, Two Dolphins, which stands 48 inches high and is dated 1986. Casts of the larger version are in the collection of the Hurlingham Club, London and the Island Hotel, Tresco, Isles of Scilly.

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*110 John Piper

(BRITISH, 1903-1992)

Cliff at Polpero, 1948 gouache on paper signed John Piper (lower right) 16 x 20 ¾ inches.

Property from George M. Irwin Trust, Quincy, Illinois Provenance: Buchholz Gallery, Inc., New York Acquired directly from the above by George M. Irwin, Quincy, Illinois, 1951 Exhibited: By the Sea, 1949-1950 (traveling exhibition organized by the Museum of Modern Art, New York) Champaign, Illinois, Krannert Art Museum, Selections from the Collection of George M. Irwin, March 2 – April 13, 1980 $6,000 - 8,000 110

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This impressionistic scene was produced by Turner during the last decade of his life, when he was a regular guest of twice-widowed Sophia Caroline Booth at her lodgings on the Margate waterfront.

The town lies downriver from London, beyond the Thames estuary, and close to the eastern-most edge of the Kent coast. Formerly a fishing port, it benefitted from the introduction of steamboats in the 1820s, which meant that it could be reached from the capital in less than a day, thereby helping to transform it into a seaside resort.

Mrs. Booth’s guest house was situated at the end of a row of houses that looked directly onto the sands of Cold Harbour, a little beach beyond the harbor walls, where in the mid-1820s a new wooden jetty was constructed to permit the steamboat passengers to disembark safely, even at low tide. Rising steeply from the little promenade, the coastal path followed the cliffs up to the peak of Fort Point, which provided an uninterrupted panorama of the shore and busy shipping lanes in either direction.

Turner knew Margate as a child and returned often in later life because of the character of the light, which he claimed to be the ‘loveliest in Europe.’ Repeated stays at Mrs. Booth’s establishment resulted in a growing intimacy between them, although this was something that had to be concealed in the Victorian era. More prosaically, as a healthy younger woman, she was also able to take on some of the domestic and logistical tasks that had formerly been performed by his father, who died in 1829.

Turner’s health was increasingly fragile in the 1840s, as he entered his late sixties. But from Mrs. Booth’s windows he was able to survey the human activity of the foreshore, as well as the ever-changing cyclorama of light and cloud effects above the sea, without having to venture outside. As a result, he produced a significant body of sketches, watercolors, and oil paintings that in recent years has attracted new interest, as Turner made these for his own pleasure or reference, lending them the status of direct expressions of personal fascination or emotion.

After Turner’s death the contents of his London studio were the subject of a protracted legal tussle in the Court of Chancery but were eventually defined as the ‘Turner Bequest’ and placed in the National Gallery. Official ignorance of his connection with Mrs. Booth meant that the works left in her Margate house, and another home that she and Turner later shared on the banks of the Thames in Chelsea, were overlooked in the 1856 settlement.

However, it was nearly a decade before Mrs. Booth’s son, Daniel Pound, started to sell these items, most of which dated from Turner’s final years.

The first documented owner of this view of the Margate cliffs was brewery owner Laurence Hodson (1864-1933), based at Wolverhampton in the industrial English Midlands, whose interest in Turner is typical of the newly wealthy mercantile collectors of the late nineteenth century. The album in which it came to

auction at Sotheby’s in 1978 appears to have been created some time around July 1884 by Hodson through the process of what he described as breaking up and mounting two existing sketchbooks. The material in the album fell into three distinct types: 13 studies of shipping and beach scenes on a variety of different toned papers; 14 sketches made in Germany, often on white paper prepared with a gray wash; and 17 pencil drawings very obviously from a broken-up sketchbook used during a tour of Kent. Although it might seem logical to assume the last two categories constituted the two former sketchbooks, recent research suggests that the third of these three components, the studies made in Kent, seems likely to have been previously owned by an earlier collector. Frustratingly, Hodson did not specify in his notes where and when he acquired this third batch of sketches. Nevertheless, they can almost certainly be tracked back to Daniel Pound, who had also sold Hodson the two smaller groups.

The 13 coastal scenes are the most relevant to the Margate cliff subject here and span three different types of drawing paper, including blue, light buff, and light gray paper, on which the present work was executed. Each of these sheets measure roughly 5 ½ x 7 ½ inches, but they were originally part of much larger pieces of paper that Turner habitually folded into sixteen sections, enabling him to work his way steadily across, putting down rapid outlines of his observations. The paper historian Peter Bower has proposed that, although the gray paper would have been available to Turner as early as 1829, his most concentrated use of it appears to have been during the years around 1840.

The two studies on gray paper from the Hodson album can be related to others in the Turner Bequest (now at Tate Britain), and in other museums and private collections, evoking incidents witnessed at Margate. Perhaps the most closely related example is a watercolor sold recently at Christie’s, New York: Figures by the Shore at Margate (January 30, 2018, Lot 85). As in the present artwork of figures struggling up the cliff, Turner evolved the image through an economic combination of chalky stabs and rubbings, coupled with judiciously placed splashes of watercolor. Placed side by side, the two images combine effectively to reconstruct the view Turner had from the windows of Mrs. Booth’s lodging-house, showing the cliffs to the east and, in the opposite direction, beyond Jarvis’s Landing Place, towards Margate’s stone harbor walls and lighthouse. Everything is captured in motion, and these private snap shots vividly bring to life a setting that Turner evidently savored.

— Ian Warrell Independent Curator; currently Senior Visiting Scholar for Collections Research at the Yale Center for British Art, New Haven

¹ For more on the setting, see Ian Warrell, ‘From Cold Harbour, Margate, to the White House: New Light on One of Ruskin’s Turners’, Turner Society News, Spring 2019, vol.131, pp. 4-14.

2 See Peter Bower, Turner’s Later Papers. A Study of the Manufacture, Selection and Use of his Drawings Papers 1820-1851, exhibition catalogue, Tate Gallery 1999, pp.69, 88-93, 109.

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111 Joseph Mallord William Turner (BRITISH, 1775-1851)

Figures on the Cliffs at Margate, c. 1840-45 watercolor and chalk on gray paper 5 ¼ x 7 ¼ inches.

Property from a Private Collection, Taos, New Mexico We would like to thank Ian Warrell for his help when cataloguing this lot.

Provenance: Sophia Caroline Booth, the artist’s landlady Daniel John Pound, her son Laurence W. Hodson, Compton Hall, by July 1884 Thence by descent Sold: Sotheby’s, London, November 30, 1978, Lot 97, part of A Volume of Watercolours, Chalk Drawings and Pencil Sketches (The Property of a Gentleman), probably identifiable as no. VI of the first group of sketches (Figures on Shore beneath Cliff)

Richard L. Feigen & Co., New York Sold: Sotheby’s, New York, October 29, 1987, Lot 28 (as Beach Scene with Figure) Purchased directly from the above sale by the present owner Exhibited: Tokyo, Mitsukoshi Gallery, Turner Watercolours and Drawings, 1979-80, no.10 (caption refers to no. 7 in original sequence), illus.

New York, Castelli-Feigen-Corcoran Galleries, Turner: Watercolours and Drawings, March 3 – April 25, 1981 Denver, Colorado, Gallery 609, J.M.W. Turner: Watercolours & Drawings, 18281850, 1981, no. 6 (as Cliffs with figures and sea) Literature: For complete details please visit Hindmanauctions.com. $60,000 - 80,000

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112 Samuel Palmer

(BRITISH, 1805-1881)

Sketch for A Pastoral Scene, c. 1851 watercolor, gouache, pen and ink, and graphite on paper 6 x 9 inches.

Property from a Private Collection, Taos, New Mexico Provenance: Private Collection Sold: Harris Auctioneers, Winchester, United Kingdom Sold: Sotheby’s, July 7, 1983, Lot 112 Martyn Gregory, London Davis & Langdale Company, New York Acquired directly from the above by the present owner Exhibited: New York, Davis & Landgdale Company, British Drawings, May 8 – June 8, 1984, no. 73 Literature: Raymond Lister, Catalogue Raisonné of the Works of Samuel Palmer, Cambridge, 1988, no. 505, p. 172, illus.

This sketch is a study for a larger watercolor, A Pastoral Scene or Sheep in the Shade, c. 1851. $20,000 - 30,000

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113 David Roberts

(SCOTTISH, 1796–1864)

Christian and Mohammedan Chapels on the Summit of Mount Sinai [Gabal Musa], 1839 watercolor, gouache, and graphite on paper titled and dated Feby. 20th 1839 by a different hand (lower left) 10 x 13 ¾ inches.

Property from a Private Collection, Taos, New Mexico We are grateful to Briony Llewellyn for her help in preparing this catalogue entry.

Provenance: Sold: Christie’s, London, The Ellesmere Sale, April 2, 1870, Lot 111 (possibly) Oakley, acquired directly from the above sale Sold: Sotheby’s, London, February 15, 1967, Lot 8 Mrs. Hayes, acquired directly from the above sale Thomas & Agnew’s, London, 1967 Private Collection, acquired directly from the above, 1968 Mathaf Gallery, c. 1977 Christopher Wood The Fine Art Society, Ltd., London, 1979 Private Collection, United States, 1979 Sold: Sotheby’s, New York, February 13, 1985, Lot 10 Acquired directly from the above sale by the present owner Exhibited: Manchester, England, Art Treasures Exhibition, Section 7, Drawings in WaterColours, 1857, no. 755 (possibly) Bristol, England, Baker & Baker with Agnew’s, Exhibition of 18th, 19th, and 20th Century English Paintings and WaterColours, 1967, no. 11 London, Agnew’s, 95th Annual Exhibition of Water-Colours & Drawings, 1968, no. 48 Literature: For complete details please visit Hindmanauctions.com. $15,000 - 25,000

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Beginning in August 1838, Roberts traveled for eleven months through Egypt and the Levant (then called the Holy Land), during which he made a series of sketches that became the basis for a series of worked-up watercolors, including the present lot.

On February 20th, the date of this watercolor, the artist wrote in his journal, “To-day we ascended to the summit of Sinai, which took us two hours. Near the top are two small chapels. One covers the cave where Elijah passed the night, the other is dedicated to Elias. On the summit are other two, --one where Moses received the tables of the law, the other belongs to the Mahometans, and under it is pointed out the foot-mark of the camel that carried the prophet from Sinai to Mecca. The view from the top is the most sublime that can be imagined.” (James Ballantine, The Life of David Roberts, R.A., Edinburgh, 1866, pp. 117-118) From these watercolors, Roberts made a series of lithographs in the decade after his return to England. The lithographs were executed by Louis Haghe and eventually published together as The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia (6 vols., London: F.G. Moon, 1842-49). The lithograph based on the present watercolor appeared in both the 1849 and reissued volumes published in 1856, in the third volume, as plate 113.

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114 Francis Towne

(BRITISH, 1739-1816)

Lake Maggiore with Sunlight Breaking Through Clouds, 1781 watercolor and pen and brown ink on paper laid to board, mounted by the artist signed F. Towne, dated, and inscribed (lower left) 8 ¼ x 10 ¼ inches.

Property from a Private Collection, Taos, New Mexico This lot is listed as catalogue number F313 in the online Francis Towne catalogue raisonné, as Lake Maggiore.

Provenance: Arthur Champernowne, presumably bought from the artist By descent to Arthur Melville Champernowne, great-grandson of the above Sold: Sotheby’s, London, May 20, 1936, Lot 1 Private Collection Sold: Sotheby’s, London, June 9, 1938 Palser Gallery, acquired at the above sale Sold: Sotheby’s, London, March 19, 1958, Lot 33

Sir William Worsley, Bt, acquired at the above sale Thence by descent Sold: Christie’s, London, November 20, 1984, Lot 72 Colnaghi, London, acquired at the above sale Acquired directly from the above by the present owner, 1985 Exhibited: London, Gallery No. 20 Lower Brook Street, Grosvenor Square, Exhibition of Original Drawings, no. 120, 121, or 122, as Lake of Maggiore Leeds, Leeds City Art Gallery, October 8 – November 23, 1958, no. 97 London, Colnaghi, English Watercolours & Drawings, May 8 – 24, 1985, no. 45 Literature: Adrian Bury, Francis Towne – Lone Star of Water-Colour Painting, London, 1962, p.

144 Sir William Worsley, Early English WaterColours at Hovingham Hall, 1963, p. 15 Timothy Wilcox, Francis Towne, London, 1997, p. 91 Gerald Bauer, Le Siecle d’Or de L’Aquarelle Anglaise, Paris, 1998, p. 42 $15,000 - 25,000

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115

115 Edward Lear

*116 Frederic William Burton

Civita Castellana, 1863

An early preliminary study of Helen Faucit as Antigone, c. 1845

(BRITISH, 1812-1888)

watercolor and graphite on paper titled and dated (lower left) 8 ½ x 13 ½ inches.

Property from a Private Collection, Taos, New Mexico Provenance: Thomas Agnew & Sons, Ltd., London Acquired directly from the above by the present owner, 1983

(IRISH, 1816-1900)

graphite on paper inscribed (verso) 17 1/2 x 9 3/4 inches.

Property from the Joshua B. Kind Trust, Downers Grove, Illinois $1,000 - 2,000

$6,000 - 8,000

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117 Thomas Rowlandson (BRITISH, 1756–1827)

A Stoning watercolor and pen and ink on paper signed Rowlandson (lower left) 7 x 9 1/2 inches Property from a Private Collection, Taos, New Mexico Provenance: Sold: Phillip’s, New York, March 7, 1984 Acquired directly from the above sale by the present owner $1,500 - 2,500

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118 Thomas Rowlandson (BRITISH, 1756–1827)

Gamblers, after 1795 watercolor and pen and ink on paper 5 ½ x 7 ¼ inches.

Property from a Private Collection, Taos, New Mexico Provenance: Davis & Langdale Company, New York Exhibited: New York, Davis & Langdale Company, English Watercolors, November 9 – 30, 1983, no. 47 $1,500 - 2,500

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*119 Harry Bush

(ENGLISH, 1883-1957)

The Hurrying Year, 1937 oil on canvas signed Harry Bush and dated (lower right) 40 x 50 inches.

Property from the Collection of Steven Huffines, San Francisco, California Provenance: Rehs Galleries, Inc., New York, 1984 Sold: Sotheby’s, Chicago, June 11-12, 2001, Lot 1101 Exhibited: London, Royal Academy, 1937, no. 564 Birkenhead, Towner Art Gallery, Eastbourne & Williamson Art Gallery, Royal Academy Pictures, 1937, no. 58 Portsmouth, Cumberland House Museum & Art Gallery, The Best Selection of Coronation Year, 1937, no. 39 Southport, Atkinson Art Gallery, 54th Spring Exhibition of Modern Art, 1939, no. 269 119

Literature: Royal Academy Illustrated, 1937, p. 99 The Standard, July 1937 $5,000 - 7,000

*120 John Mather

(SCOTTISH, 1848-1916)

Late Afternoon, 1906 oil on canvas signed Mather and dated (lower right) 18 x 12 inches.

Property from the Museum of Fine Arts, St. Petersburg, Florida Provenance: George H. Bond Gift of the above to the present owner, 1967 $2,000 - 4,000

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121 Robert Salmon

(AMERICAN/SCOTTISH, 1775–1844)

A privateer in two positions leaving Whitehaven Harbour, 1801 oil on canvas initialed RS and dated (lower right) 28 x 50 inches.

Provenance: Sold: Bonhams, London, September 12, 2006, Lot 84 Richard Green, London Acquired directly from the above by the present owner, 2010 $70,000 - 90,000

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*122 Raimundo de Madrazo y Garreta (SPANISH, 1841-1920)

Portrait of a Lady, 1905 oil on canvas signed R. Madrazo and dated (center right) 46 ¼ x 34 ½ inches.

Property from the Collection of Virginia M. Byington, Canton, Ohio $6,000 - 8,000

*123 Jan van Noordt

(DUTCH, CIRCA 1620 – AFTER 1676)

Caritas, 1645 oil on canvas formerly signed and dated 1645 24 x 24 inches.

Property from the Collection of William and Sharon Treul, Pewaukee, Wisconsin Provenance: Sold: Amsterdam, September 16, 1739, Lot 131 Sold: Christie's, London, January 30, 1914, Lot 98 Leger Gallery, London, acquired from the above sale Erich Gallery, New York Sold: New York, Anderson Galleries, November 12, 1924, Lot 23 (as signed and dated 1645, 49 x 42 in.)

Sold: New York, Parke-Bernet, November 24, 1939, Lot 72 (as signed and dated lower right: JAN V. NOORDT 1645, 48 ½ x 42 in.)

Sold: New York, Parke-Bernet, May 15 - 17, 1947, Lot 235 (as signed and dated 1645, 48 ½ x 41 ½ in.)

A.R. Lunde, New York Alfred Bader Fine Arts, Milwaukee, Wisconsin Acquired directly from the above by the present owner, November 1985

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Literature: For complete details please visit Hindmanauctions.com.

According to David A. de Witt, the original canvas measured 47 ½ x 41 inches. At some point after 1947, the composition was trimmed to the current size, removing the signature and date. $20,000 - 30,000 104 A M E R I C A N A N D E U R O P E A N A R T

123

124 Johann Georg Meyer von Bremen (GERMAN, 1813-1886)

Adoring the Baby, 1874 oil on panel signed Meyer von Bremen, dated, and inscribed Berlin (lower right) 19 ¼ x 15 ¼ inches. $6,000 - 8,000

124

125 Eugene Joseph Verboeckhoven (BELGIAN, 1799–1881)

Landscape with Cows and Herder along a Path oil on canvas signed E. Verboeckhov (lower left) 29 ½ x 39 ½ inches. $25,000 - 35,000

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127

*126 Alexander Loemans

*127 Eugene Verboeckhoven with A. Meyers

Western Scene with Indians

Dutch Windmill

oil on canvas signed Alex Loemans (lower center) 38 x 63 inches.

oil on panel signed Meyers and Eugene Verboeckhoven (lower left) 20 x 30 ½ inches.

(DUTCH, 1850-1890)

Property from the Museum of Fine Arts, St. Petersburg, Florida $3,000 - 5,000

(BELGIAN, 1799–1881)

Property from the Estate of Avis Hope Truska, Scottsdale, Arizona $5,000 - 7,000

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129

*128 Karl Raupp

129 Franz von Defregger

Sleighride, 1874

Untitled (Interior Scene)

oil on canvas laid to board signed C. Raupp and dated (lower left) 10 ¼ x 19 ¼ inches.

oil on panel signed n. F. Defregger (lower right) 8 ¾ x 10 ½ inches.

Property from the Museum of Fine Arts, St. Petersburg, Florida

$5,000 - 7,000

(GERMAN, 1837-1918)

(AUSTRIAN, 1835–1921)

$2,000 - 4,000 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 107

130 Luigi da Rios

(ITALIAN, 1844–1892)

Return from the Masquerade oil on canvas laid to board signed L Da Rios and inscribed Venezia (lower right) 22 x 29 ¼ inches.

Provenance: Findlay Galleries, Chicago $6,000 - 8,000

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131 Gianndomenico Tiepolo (ITALIAN, 1727-1804)

Crowd Scene with Angels pen and brown ink on paper signed by the artist (lower right), but etched out at a later date 10 ¾ x 17 inches.

Property from a Private Collection, Taos, New Mexico Provenance: William Bates (Lugt 2604) Sold: Sotheby’s, July 3, 1989, Lot 124 Mia Weiner, Norfolk, Connecticut Schillay Fine Art, New York Acquired directly from the above by the present owner, 2004 131

Exhibited: Castello di Udine, Italy, Giandomenico Tiepolo, Disegni del Mondo, September 14 – December 31, 1996 (also traveled to Bloomington, Indiana, Indiana University Art Museum, January 15 – March 9, 1997) Literature: Adelheid Gealt and George Knox, Domenico Tiepolo, Master Draftsman, Bloomington, Indiana, 1996, no. 74, p. 151, illus. $10,000 - 15,000

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132 Giovanni Boldini (ITALIAN, 1842-1931)

Souper Chez Maxim’s; A Portrait of a Young Woman said to be Mlle Boldini (a doublesided work) watercolor and charcoal on paper bears stamped signature Boldini (lower left); stamped and with an inscription by artist’s wife’s (verso) 8 ¾ x 11 inches.

Property from a Private Collection, Taos, New Mexico We thank Dr. Francesca Dini, art historian and curator of Giovanni Boldini’s catalogue raisonné, for confirming the authenticity of this lot.

This double-sided drawing was in the artist’s studio at the time of his death, when his wife, Emilia Boldini Cardona, catalogued it and added the note on the verso.

Provenance: The artist’s studio Emilia Cardona, the artist’s widow Princess Désirée Windisch-Graetz, after 1931 Sold: Sotheby’s, New York, February 27, 1986, Lot 265 Acquired directly from the above sale by the present owner

Originally from Ferrara, Italy, Giovanni Boldini moved to Florence where, beginning in 1864, he was influenced by the Macchiaioli group—landscape painters who combined Realist and Impressionist techniques. Seduced by the Parisian lifestyle, in 1871 he made the decision to settle in the French capital, where he became one of the most appreciated artists represented by the Goupil & Cie gallery. During the 1880s, Boldini returned to portraiture, once a youthful passion.

The artist depicted the protagonists of the Belle Epoque in large-format paintings that made him internationally famous among the “worldly portraitists” of his time, among them John Singer Sargent.

Watercolor was Boldini’s medium of choice throughout his career, as it appealed to his colorist’s sensitivity. The charm of the present watercolor consists precisely in the magical interpenetration of color and graphic line from which springs an extraordinary vital energy. In the first two decades of the 20th Century, Boldini was fascinated by the rhythms and characters of his beloved Paris, which he depicted with his free and masterful drawing. This is likely when Souper Chez Maxim’s was executed, as evidenced by the cloche hat worn by the woman in the center of the composition, a type of hat that was fashionable at this time. Boldini is firmly on the stage of the modern Parisian metropolis, of which he savors the vitality, the pleasantness of life, and the fragrant beauty of the young women who crowd the social gatherings (compare with the oil paintings, of a similar subject included in Piero Dini & Francesca Dini, Giovanni Boldini (1842-1931): Catalogue Raisonné, Turin 2002, Vol. 2, Vol. 3, nos. 1163-1164).

In 1926 Boldini met the Piedmontese journalist Emilia Cardona. They married in 1929, not without scandal, due to the enormous difference in age (the artist was 87). If the female figure portrayed on the sheet verso is really the thirty-year old Emilia, as suggested, it is likely Boldini reused this sheet after 1926.

$15,000 - 25,000 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 109

133 Giovanni Fattori (ITALIAN, 1825-1908)

Bozzetto della lecceto oil on panel initialed G.F. (lower right); inscribed Giovanni Fattori and titled (verso) 4 ¾ x 3 inches.

Property from a Private Collection, Taos, New Mexico We would like to thank Marco Bertoli for his assistance in cataloguing this lot.

Provenance: Sold: Sotheby’s, New York, May 23, 1985, Lot 296 Acquired directly from the above sale by the present owner $6,000 - 8,000

The present lot is a sketch for the finished oil on panel Ulivi argentati, from the Mario Galli collection (Giovanni Malesci, Illustrated catalog of oil paintings by Giovanni Fattori, Novara, 1961, no. 501, p. 220). Dated by Malesci to circa 18901900, the finished oil painting was included in a 1925 exhibition in Florence on the occasion of the centenary of the painter’s birth.

A perfect correspondence emerges when the present artwork and the finished painting are compared. The oil closely follows the sketched composition, with the same position of the trunks and gnarled branches of the olive trees, as well as the identical light that hits the trees and makes the shadows stretch toward the right.

The scene is executed “dal vero,” or en plein air, and is charged with a suggestive atmosphere through the play of light that filters through the foliage of the forest.

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This sketch reveals the artist’s typical use of counterpoint of light and dark tones and the skillful use of the different drafting and density of the chromatic mixture. The characters of synthesis and simplicity were sought by the artist in a systemic way in order to arouse emotions not by the content but for the chosen quality of the form. Here, the calm and diffused brightness enhances the silent stillness of the scene and accentuates the evocative qualities of the landscape.

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134 Giovanni Fattori (ITALIAN, 1825-1908)

Bosco alle Cascine, c. 1880s watercolor and graphite on paper signed Giovanni Fattori, titled, and inscribed (verso) 7 ½ x 13 inches.

Property from a Private Collection, Taos, New Mexico We would like to thank Marco Bertoli for his assistance in cataloguing this lot.

Provenance: Mario Galli, Florence, Italy Exhibited: Milan, Galleria Carini, Mostra vendita di dipinit dell’800, January 28 – February 14, 1954, no. 24, pl. 5

The Cascine is one the largest Florentine parks and was an inexhaustible source of inspiration for the artist. Fattori painted en plein air several different views of the shaded avenues of leafy trees, capturing the atmosphere as the light and the seasons change. An extraordinary production made over several years includes the artworks Bosco alle Cascine, 1870-1880, (Alessandro Magnelli Collection); Le Cascine, 1865-1875 (Mario Galli Collection); and Le vecchia Cascine, 18651875 (Luigi Spinelli Collection). Similar compositions to the present watercolor include Alberi alle Cascine, 1860-1870 (Adolfo Santarini Collection) and the Viale alle Cascine, 1870-1875. In these latter works, the painter focuses on the study of trees made through “spots” of different shades of green. Above all he focuses on the chiaroscuro of the light that filters through the branches of the trees, recreating their rustling and airy sensation.

An inscription on the verso of the present watercolor bears witness to its undoubted pedigree, translating as: “In the Collection Mario Galli approves Giovanni Malesci.” A Florentine sculptor, Mario Galli (1877-1946) collected paintings by the greatest Macchiaioli painters, from Signorini to Borrani, from Abbati to D’Ancona, and he became one of the most important collectors of Giovanni Fattori. Giovanni Malesci was a pupil of Giovanni Fattori from 1903 to 1908. As one of the artist’s greatest supporters and connoisseurs, Malesci’s 1961 catalogue raisonné on the Livorno painter remains to this day the fundamental reference text for Fattori’s work.

New York, Stair Sainty Matthiesen, The Macchiaioli, Tuscan Painters of Sunlight, March 14 – April 20, 1984, no. 36, pp. 9899, illus. $8,000 - 12,000

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135 Raffaello Sernesi

136 Alphonse Mucha

L’Arno a Roveramo

Woman with Flowering Branches

oil on metal 6 x 11 inches.

oil on canvas signed Mucha (lower right) 30 ¼ x 25 ¼ inches.

(ITALIAN, 1838-1866)

Property from a Private Collection, Taos, New Mexico Provenance: Galleria Casini, Milan Sold: Sotheby’s, New York, February 27, 1986, Lot 263 Acquired directly from the above sale by the present owner Exhibited: Milan, Studio Mario Borgiotti, Mostra de Macchiaoli, February 1959 $5,000 - 7,000

112 A M E R I C A N A N D E U R O P E A N A R T

(CZECH, 1860–1939)

Property from the Estate of Avis Hope Truska, Scottsdale, Arizona The present work is accompanied by a certificate from the Mucha Foundation dated 8 March 2021. $60,000.00 - $80,000.00

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SAN DIEGO KATIE GUILBAULT, G.G. BUSINESS DEVELOPMENT DIRECTOR 858.442.6104 KATIEGUILBAULT@HINDMANAUCTIONS.COM

CLEVELAND CARRIE PINNEY BUSINESS DEVELOPMENT MANAGER 216.292.8300 CARRIEPINNEY@HINDMANAUCTIONS.COM

NAPLES ELIZABETH RADER, PHD BUSINESS DEVELOPMENT DIRECTOR 239.643.4448 ELIZABETHRADER@HINDMANAUCTIONS.COM

SCOTTSDALE LOGAN BROWNING BUSINESS DEVELOPMENT DIRECTOR 480.490.3175 LOGANBROWNING@HINDMANAUCTIONS.COM

DENVER MARON HINDMAN VICE CHAIR 303.825.1855 MARON@HINDMANAUCTIONS.COM

MIAMI, PALM BEACH SARAH ROY DIRECTOR, BUSINESS DEVELOPMENT 561.660.0579 SARAHROY@HINDMANAUCTIONS.COM

ST. LOUIS ANNA SHAVER BUSINESS DEVELOPMENT MANAGER 314.833.0833 ANNASHAVER@HINDMANAUCTIONS.COM

DETROIT PAM IACOBELLI BUSINESS DEVELOPMENT DIRECTOR 313.774.0900 PAMIACOBELLI@HINDMANAUCTIONS.COM

PALM BEACH KATE STAMM SENIOR ASSOCIATE, BUSINESS DEVELOPMENT 561.833.8053 KATESTAMM@HINDMANAUCTIONS.COM

WASHINGTON D.C. MAURA ROSS BUSINESS DEVELOPMENT DIRECTOR 202.853.1638 MAURAROSS@HINDMANAUCTIONS.COM

114 A M E R I C A N A N D E U R O P E A N A R T

Auction Inquiries FINANCE MARCO GUSELLA DIRECTOR, FINANCE MARCOGUSELLA @HINDMANAUCTIONS.COM 312.280.1212 CLIENT SERVICES RITA SWANBERG MANAGER, CLIENT SERVICES RITASWANBERG @HINDMANAUCTIONS.COM 312.280.1212 ESTATES, APPRAISALS & BUSINESS DEVELOPMENT VAUGHN SMITH BUSINESS DEVELOPMENT MANAGER VAUGHNSMITH @HINDMANAUCTIONS.COM 312.334.4238 BRIAR KOEHL BUSINESS DEVELOPMENT SENIOR ASSOCIATE BRIARKOEHL @HINDMANAUCTIONS.COM 312.600.6075 SAMANTHA SCHWARTZ BUSINESS DEVELOPMENT ASSOCIATE, TRUSTS & ESTATES SAMANTHASCHWARTZ @HINDMANAUCTIONS.COM 312.447.3297 NNEKA DUNHAM BUSINESS DEVELOPMENT ASSOCIATE, WEST NNEKADUNHAM @HINDMANAUCTIONS.COM 312.334.4232 HANNAH UNGER BUSINESS DEVELOPMENT ASSOCIATE, EAST HANNAHUNGER @HINDMANAUCTIONS.COM 312.447.3267 MUSEUM SERVICES MICHAEL SHAPIRO SENIOR ADVISOR MUSEUMS & PRIVATE COLLECTIONS MICHAELSHAPIRO @HINDMANAUCTIONS.COM 312.334.4210 MIRANDA MAXFIELD BUSINESS DEVELOPMENT SENIOR ASSOCIATE, MUSEUM SERVICES MIRANDALUCE @HINDMANAUCTIONS.COM 312.334.4208 CONSIGNMENT DEPARTMENT JIM SHARP CHIEF OPERATING OFFICER JIMSHARP @HINDMANAUCTIONS.COM MAGGIE PORTER VP SALES STRATEGY, DEPUTY COO MAGGIEPORTER @HINDMANAUCTIONS.COM MOLLY MORSE LIMMER SENIOR VICE PRESIDENT, DECORATIVE ARTS & COLLECTIBLES MOLLYLIMMER @HINDMANAUCTIONS.COM

FINE ART JOSEPH STANFIELD VP, SENIOR SPECIALIST JOSEPHSTANFIELD @HINDMANAUCTIONS.COM ZACK WIRSUM SENIOR SPECIALIST, POST WAR & CONTEMPORARY ART ZACHARYWIRSUM @HINDMANAUCTIONS.COM MONICA BROWN SENIOR SPECIALIST, PRINTS & MULTIPLES MONICABROWN @HINDMANAUCTIONS.COM KATHERINE HLAVIN DIRECTOR AND SPECIALIST, WESTERN & WILDLIFE ART KATHERINEHLAVIN @HINDMANAUCTIONS.COM PAULINE ARCHAMBAULT SPECIALIST PAULINEARCHAMBAULT @HINDMANAUCTIONS.COM NATE BRADY ASSOCIATE SPECIALIST NATHANBRADY @HINDMANAUCTIONS.COM ALEXANDRIA DREAS CATALOGUER ALEXANDRIADREAS @HINDMANAUCTIONS.COM JULIANNA TANCREDI CATALOGUER JULIANNATANCREDI @HINDMANAUCTIONS.COM ABBY CHAMBERS DEPARTMENT COORDINATOR ABBYCHAMBERS @HINDMANAUCTIONS.COM EUROPEAN FURNITURE & DECORATIVE ARTS CORBIN HORN DIRECTOR, SENIOR SPECIALIST CORBINHORN @HINDMANAUCTIONS.COM 312.334.4214 MIKE INTIHAR SENIOR SPECIALIST MIKEINTIHAR @HINDMANAUCTIONS.COM NICK COOMBS SPECIALIST NICKCOOMBS @HINDMANAUCTIONS.COM GENEVIEVE KING ASSOCIATE SPECIALIST GENEVIEVEKING @HINDMANAUCTIONS.COM ELIZABETH REED CATALOGUER ELIZABETHREED @HINDMANAUCTIONS.COM AMERICAN FURNITURE, FOLK & DECORATIVE ARTS BENJAMIN FISHER DIRECTOR, SENIOR SPECIALIST BENJAMINFISHER @HINDMANAUCTIONS.COM

JENNIFER HOWE SENIOR SPECIALIST JENNIFERHOWE @HINDMANAUCTIONS.COM LEAH VOGELPOHL SPECIALIST LEAHVOGELPOHL @HINDMANAUCTIONS.COM ANTIQUITIES JACOB COLEY DIRECTOR AND SENIOR SPECIALIST, ANTIQUITIES JACOBCOLEY @HINDMANAUCTIONS.COM MODERN DESIGN HUDSON BERRY DIRECTOR, SPECIALIST HUDSONBERRY @HINDMANAUCTIONS.COM SABRINA GRANADOS ASSOCIATE CATALOGUER SABRINAGRANADOS @HINDMANAUCTIONS.COM NATIVE AMERICAN, PREHISTORIC & TRIBAL ART DANICA FARNAND DIRECTOR, SENIOR SPECIALIST DANICAFARNAND @HINDMANAUCTIONS.COM ERIN RUST SPECIALIST ERINRUST @HINDMANAUCTIONS.COM MADISON LIGHT ASSOCIATE CATALOGER MADISONLIGHT @HINDMANAUCTIONS.COM BOOKS & MANUSCRIPTS GRETCHEN HAUSE DIRECTOR, SENIOR SPECIALIST GRETCHENHAUSE @HINDMANAUCTIONS.COM KATIE HORSTMAN SENIOR SPECIALIST KATIEHORSTMAN @HINDMANAUCTIONS.COM DANIELLE LINN SPECIALIST DANIELLELINN @HINDMANAUCTIONS.COM EMILY PAYNE SPECIALIST EMILYPAYNE @HINDMANAUCTIONS.COM KAYLAN GUNN ASSOCIATE SPECIALIST KAYLANGUNN @HINDMANAUCTIONS.COM FRANCIS WAHLGREN SENIOR CONSULTANT FRANCISWAHLGREN @HINDMANAUCTIONS.COM

ASIAN ART ANNIE WU DIRECTOR, SENIOR SPECIALIST ANNIEWU @HINDMANAUCTIONS.COM FLORA ZHANG ASSOCIATE SPECIALIST FLORAZHANG @HINDMANAUCTIONS.COM MEGAN SADLER CATALOGUER MEGANSADLER @HINDMANAUCTIONS.COM MARIELLE EPSTEIN DEPARTMENT COORDINATOR MARIELLEEPSTEIN @HINDMANAUCTIONS.COM JEWELRY & TIMEPIECES SALLY KLARR, G.G. DIRECTOR, SENIOR SPECIALIST SALLYKLARR @HINDMANAUCTIONS.COM KATIE HAMMOND GUILBAULT, G.G. BUSINESS DEVELOPMENT DIRECTOR, SAN DIEGO, SENIOR SPECIALIST, JEWELRY AND TIMEPIECES KATIEGUILBAULT @HINDMANAUCTIONS.COM MARISA ACKERMAN, G.G. SPECIALIST MARISAACKERMAN @HINDMANAUCTIONS.COM KARINA HAMMER, G.G. SPECIALIST KARINAHAMMER @HINDMANAUCTIONS.COM HANA THOMSON CATALOGUER HANATHOMSON @HINDMANAUCTIONS.COM MADELINE SCHROEDER ASSOCIATE CATALOGUER MADELINESCHROEDER @HINDMANAUCTIONS.COM COUTURE & LUXURY ACCESSORIES TIMOTHY LONG DIRECTOR, SENIOR SPECIALIST TIMOTHYLONG @HINDMANAUCTIONS.COM MICHAEL HALL CATALOGUER MICHAELHALL @HINDMANAUCTIONS.COM ARMS, ARMOR & MILITARIA TIM CAREY DIRECTOR, SPECIALIST TIMCAREY @HINDMANAUCTIONS.COM SPORTS MEMORABILIA JAMES SMITH SPECIALIST JAMESSMITH @HINDMANAUCTIONS.COM

PATRICIA TENCH SENIOR CATALOGUER PATRICIATENCH @HINDMANAUCTIONS.COM MARIA FERNANDEZ CATALOGUER MARIAFERNANDEZ @HINDMANAUCTIONS.COM 312.334.4236

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 115

GLOSSARY OF TERMS

ARTIST INDEX ARTIST NAME

LOT

Andre, Albert . . . . . . . . . . . . . . . . . . . . . . . . 91 Armstrong, Rolf . . . . . . . . . . . . . . . . . . . . . . 41 Ault, George Copeland . . . . . . . . . . . . . . . . . 27 Beal, Gifford. . . . . . . . . . . . . . . . . . . . . . . . . 30 Bierstadt, Albert . . . . . . . . . . . . . . . . . . . . . . 61 Blanchard, Antoine . . . . . . . . . . . . . . . . . . . . 95 Boldini, Giovanni . . . . . . . . . . . . . . . . . . . . 132 Bretegnier, Georges . . . . . . . . . . . . . . . . . . 107 Brockhurst, Gerald Leslie . . . . . . . . . . . . . . . 45 Brown, George Loring . . . . . . . . . . . . . . . . . . 65 Bulman, Orville. . . . . . . . . . . . . . . . . . . . . .9-11 Burchfield, Charles . . . . . . . . . . . . . . . . . . . . 32 Burton, Frederic William . . . . . . . . . . . . . . . 116 Bush, Harry . . . . . . . . . . . . . . . . . . . . . . . . 119 Calderon, Charles Clement . . . . . . . . . . . . . 105 Castellon, Federico . . . . . . . . . . . . . . . . . . . . 21 Cathelin, Bernard . . . . . . . . . . . . . . . . . . .92-93 Charreton, Victor . . . . . . . . . . . . . . . . . . .86-88 Chigot, Eugene . . . . . . . . . . . . . . . . . . . . . . . 89 Connaway, Jay Hall . . . . . . . . . . . . . . . . . . . . 66 Covarrubias, Miguel . . . . . . . . . . . . . . . . . . . 20 Daingerfield, Elliott . . . . . . . . . . . . . . . . . . . . 64 Davies, Arthur B. . . . . . . . . . . . . . . . . . . . . . 31 de Madrazo y Garreta, Raimundo . . . . . . . . . 122 Derain, Andrew . . . . . . . . . . . . . . . . . . . . . . . 76 Du Bois, Guy Pene . . . . . . . . . . . . . . . . . . . . 44 Dufy, Jean . . . . . . . . . . . . . . . . . . . . . . . .74-75 Fattori, Giovanni . . . . . . . . . . . . . . . . . .133-134 Figari, Pedro. . . . . . . . . . . . . . . . . . . . . . . . . 13 Fitzpatrick, John Kelly . . . . . . . . . . . . . . . . . . 49 Foujita, Leonard Tsuguharu . . . . . . . . . . . .72-73 Frishmuth, Harriet Whitney . . . . . . . . . . . . . . 38 Fritz, Emmett . . . . . . . . . . . . . . . . . . . . . . . . 12 Garber, Daniel . . . . . . . . . . . . . . . . . . . . . . . 50 Glackens, William . . . . . . . . . . . . . . . . . . . . . 37 Grabach, John . . . . . . . . . . . . . . . . . . . . . . . 63 Graham, John. . . . . . . . . . . . . . . . . . . . . . . . 16 Hale, Phillip Leslie . . . . . . . . . . . . . . . . . . . . 47 Halpert, Samuel . . . . . . . . . . . . . . . . . . . . . . 24 Hasteltine, William Stanley . . . . . . . . . . . . . . 60 Herve, Jules Rene . . . . . . . . . . . . . . . . . . . . 94 Horton, William Samuel . . . . . . . . . . . . . .25-26 Jacquet, Gustave . . . . . . . . . . . . . . . . . . . . 106 Kahn, Wolf . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Kleitsch, Joseph . . . . . . . . . . . . . . . . . . . . . . 42 Koeniger, Walter . . . . . . . . . . . . . . . . . . . . . . 53 Lachaise, Gaston . . . . . . . . . . . . . . . . .101-102 Le Pho. . . . . . . . . . . . . . . . . . . . . . . . . . .67-70 Le Sidaner, Henri . . . . . . . . . . . . . . . . . . .81-85 Lear, Edward . . . . . . . . . . . . . . . . . . . . . . . 115 Lebduska, Lawrence . . . . . . . . . . . . . . . . . . . . 8 Legrand, Louis Auguste Mathieu . . . . . . . . . 100 Lever, Hayley . . . . . . . . . . . . . . . . . . . . . . . . 55 Lhermitte, Leon Augustin . . . . . . . . . . . . . . 108 Loemans, Alexander . . . . . . . . . . . . . . . . . . 126 Luks, George . . . . . . . . . . . . . . . . . . . . . .35-36 MacCord, Mary Nicholena . . . . . . . . . . . . . . . 57 Manship, Paul . . . . . . . . . . . . . . . . . . . . . . . 40 Manzana-Pissarro, Georges . . . . . . . . . . . . . . 99

116 A M E R I C A N A N D E U R O P E A N A R T

ARTIST NAME

LOT

Marin, John . . . . . . . . . . . . . . . . . . . . . . . . . 17 Martin, Henri Jean Guillaume . . . . . . . . . .77-78 Mather, John . . . . . . . . . . . . . . . . . . . . . . . 120 Melchers, Gari . . . . . . . . . . . . . . . . . . . . . . . 59 Meyers, A. . . . . . . . . . . . . . . . . . . . . . . . . . 127 Mucha, Alphonse . . . . . . . . . . . . . . . . . . . . 113 Nadelman, Elie . . . . . . . . . . . . . . . . . . . . . . . 39 Noguchi, Isamu . . . . . . . . . . . . . . . . . . . . . . 46 Palmer, Samuel . . . . . . . . . . . . . . . . . . . . . 112 Paul, Gen . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Piper, John . . . . . . . . . . . . . . . . . . . . . . . . . 110 Pissarro, Hugues Claude . . . . . . . . . . . . . . . . 97 Pissarro, Paul-Emile . . . . . . . . . . . . . . . . . . . 98 Prentice, Levi Wells . . . . . . . . . . . . . . . . . . . 29 Raupp, Karl . . . . . . . . . . . . . . . . . . . . . . . . 128 Redfield, Edward Willis . . . . . . . . . . . . . . . . . 51 Richmond, Agnes Millen . . . . . . . . . . . . . . . . 56 Rios, Luigi da . . . . . . . . . . . . . . . . . . . . . . . 130 Roberts, David . . . . . . . . . . . . . . . . . . . . . . 113 Rousseau, Henry Emilien . . . . . . . . . . . . . . 103 Rowlandson, Thomas . . . . . . . . . . . . . .117-118 Salmon, Robert . . . . . . . . . . . . . . . . . . . . . 121 Schmid, Richard Alan . . . . . . . . . . . . . . . . . . 28 Sernesi, Raffaello . . . . . . . . . . . . . . . . . . . . 135 Shinn, Everett . . . . . . . . . . . . . . . . . . . . .33-34 Signac, Paul . . . . . . . . . . . . . . . . . . . . . . .79-80 Sotter, George William . . . . . . . . . . . . . . . . . 52 Stella, Joseph . . . . . . . . . . . . . . . . . . . . .14-15 Symons, George Gardner . . . . . . . . . . . . . . . 54 Tiepolo, Gianndomenico . . . . . . . . . . . . . . . 131 Towne, Francis . . . . . . . . . . . . . . . . . . . . . . 114 Tucker, Allen . . . . . . . . . . . . . . . . . . . . . . .22-23 Turner, Joseph Mallord William. . . . . . . . . . . 111 Tyler, James Gale . . . . . . . . . . . . . . . . . . . . . 62 Valtat, Louis . . . . . . . . . . . . . . . . . . . . . . . . . 90 van Noordt, Jan . . . . . . . . . . . . . . . . . . . . . 123 Verboeckhoven, Eugene Joseph . . . . . . 125, 127 Vickrey, Robert . . . . . . . . . . . . . . . . . . . . . . .1-5 Von Artens, Peter . . . . . . . . . . . . . . . . . . . . . . 6 von Bremen, Johann Georg Meyer . . . . . . . . 124 von Defregger, Franz . . . . . . . . . . . . . . . . . . 129 Vu Cao Dam. . . . . . . . . . . . . . . . . . . . . . . . . 71 Walker, William Aiken . . . . . . . . . . . . . . . . . . 48 Warshawsky, Abel George . . . . . . . . . . . . . . . 58 Wood, Thomas Waterman . . . . . . . . . . . . . . . 43 Worms, Jules . . . . . . . . . . . . . . . . . . . . . . . 104 Wyeth, Andrew . . . . . . . . . . . . . . . . . . . . .18-19 Wynne, David . . . . . . . . . . . . . . . . . . . . . . . 109

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.

AFTER PIETER BRUEGEL THE ELDER BY PIETER VAN DER HEYDEN (FLEMISH, B. CA. 1525-1569) THE TEMPTATION OF SAINT ANTHONY, 1556 ESTIMATE: $8,000 - 12,000

Upcoming Auction Schedule 865 | EUROPEAN FURNITURE & DECORATIVE ARTS APRIL 21-22 | CHICAGO

875 | TIMEPIECES MAY 17 | CHICAGO

893 | A GENTLEMAN'S PURSUITS APRIL 27 | CHICAGO

876 | IMPORTANT JEWELRY MAY 18 | CHICAGO

892 | DINING AT HOME APRIL 29 | CHICAGO

878 | MODERN DESIGN MAY 20 | CHICAGO

869 | AMERICAN & EUROPEAN ART MAY 3 | CHICAGO

903 | ATLANTA COLLECTIONS MAY 21 | ATLANTA

870 | POST WAR & CONTEMPORARY ART MAY 4 | CHICAGO

898 | PALM BEACH COLLECTIONS, SESSION I MAY 24 | PALM BEACH

871 | PRINTS & MULTIPLES MAY 5 | CHICAGO

919 | ARMS & ARMOR, SESSION I MAY 25 | CINCINNATI

835 | WESTERN PAINTINGS & SCULPTURE INCLUDING CONTEMPORARY NATIVE AMERICAN ART MAY 6-7 | DENVER

881 | ANTIQUITIES MAY 27-28 | CHICAGO

873 | BOOKS & MANUSCRIPTS MAY 12-13 | CHICAGO 890 | CINCINNATI COLLECTIONS MAY 14 | CINCINNATI

882 | SUMMER FASHION & ACCESSORIES JUNE 3 | CHICAGO 883 | SPORTS MEMORABILIA JUNE 8 | CHICAGO

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 117

WE INVITE YOU TO CONSIGN WITH US UPCOMING AUCTION

STEPPING INTO TOMORROW POST WAR ART & DESIGN Thursday, July 29 | Chicago

CONSIGNMENT INQUIRIES consign@hindmanauctions.com 1338 West Lake Street Chicago, Illinois 60607 312.280.1212

HINDMANAUCTIONS.COM

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.

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 standard bidding increments are:

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-five percent (25%) of the hammer price on each lot sold for less than $5,001, with a minimum commission of $75 per lot sold. If your property fails to reach the reserve price agreed upon between you and Hindman LLC, you may be obligated to pay a reduced commission rate of five percent (5%) of the reserve price.

$0 - $500 ........................................ $25

$500 - $1,000 ..................................... $50 $1,000 - $2,000 ................................... $100 $2,000 - $5,000 ................................... $250 $5,000 - $10,000 ................................. $500 $10,000 - $20,000 .............................. $1,000 $20,000 - $50,000 .............................. $2,500 $50,000 - $100,000 ............................ $5,000 $100,000 - $200,000 .......................... $10,000 Above > $200,000 .... At Auctioneer’s Discretion

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.

In-House Bidding Our auctions are free and open to the public with no obligation for attendees to bid. Registration requires your full contact information, photo identification, credit card information, your signature and agreement to the Conditions of Sale.. If you are the successful bidder, your paddle number and the hammer price will be announced by the auctioneer.

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.

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

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.

Absentee Bidding If you are unable to attend an auction, you may place an absentee bid, either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. An absentee bid is the highest price you are willing to pay exclusive of buyer’s premium and applicable sales tax. Hindman LLC will exercise absentee bids at no additional charge. Absentee bids are always confidential, and bids are executed at the lowest price possible by the auctioneer according to reserves and competing bids.

Telephone Bidding You may register telephone bid requests either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. Upon registering for a telephone bid, you will be called on the day of the auction by a Hindman representative approximately five lots before your item is scheduled to be sold. They will communicate to you the bidding activity and will relay your bids to the auctioneer at your discretion. Please note we can only accept telephone bids for lots with a low estimate of $300 or above unless otherwise noted online. Telephone bids may be requested up to 2 hours prior to the auction start time.

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

Updated 4/21

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.

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 119

CONDITIONS OF SALE These Conditions of Sale set out the terms upon which Hindman LLC (“we,” “us,” or “our”) sells property by lot in this catalogue. You agree to be bound by these terms by registering to bid and/or by bidding in our auction. A glossary at the end defines the words in bold type.

A. BEFORE THE AUCTION

1. LOT DESCRIPTIONS AND WARRANTIES Our description of a lot, any statement of a lot’s condition, and any other oral or written statement about a lot—such as its nature, condition, artist, period, materials, dimensions, weight, exhibition or publication history, or provenance—are our opinion and shall not to be relied upon by you as a statement of fact. Except for the limited authenticity warranty contained in paragraphs E and F below, we do not provide any guarantee of our description or the nature of a lot.

2. CONDITION The physical condition of lots in our auctions can vary due to age, normal wear and tear, previous damage, and restoration/repair. All lots are sold “AS IS,” in the condition they are in at the time of the auction, and we and the seller make no representation or warranty and assume no liability of any kind as to a lot’s condition. Any reference to condition in a catalogue description or a condition report shall not amount to a full accounting of condition and may not include all faults, inherent defects, restoration, alteration, or adaptation. Likewise, images in our catalogue may not depict a lot accurately, as colors and shades may appear different in print or on screen than on physical inspection. We are not responsible for providing you with a description of a lot’s condition in the catalogue or in a condition report.

3. VIEWING LOTS We offer pre-auction viewings, either scheduled or by appointment, that are free of charge. If you believe that the catalogue description or condition reports are not sufficient, we suggest you inspect a lot personally or through a knowledgeable representative before you bid on a lot to make sure that you accept the description and its condition. We recommend you hire a professional adviser if you are not familiar with how to address the nature or condition of an object.

4. ESTIMATES Estimates of a lot account for the condition, rarity, quality, and provenance of the object and are based upon prices realized for similar objects in past auctions. Neither you nor anyone else may rely on our estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium, any applicable taxes, and any other applicable charges.

5. WITHDRAWAL We may, in our sole discretion, withdraw a lot from auction at any time prior to or during the sale and shall have no liability to you for our decision to withdraw.

B. REGISTERING TO BID

1. NEW BIDDERS New bidders must register at least twenty-four (24) hours before an auction and must provide us with documentation of their identity. (a) Individuals must provide photo identification (driver’s license, non-driver ID card, or passport) and, if not shown on the photo identification, proof of current address (a current utility bill or bank statement). (b) Corporate clients must provide a Certificate of Incorporation or its equivalent bearing the company’s name and registered address, together with documentary proof of directors and beneficial owners. (c) Trusts, partnerships, offshore companies, and other business entities must contact us in advance of the auction to discuss our requirements. If we are not satisfied with the information you provide us in our bidder identification and other registration procedures, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller. New bidders may be required to provide us with a financial reference and/or a deposit before we allow them to bid.

2. RETURNING BIDDERS If you have not bought anything from us recently, then we may require you to register as a new bidder, as described in the paragraph above. Please contact us at least twenty-four (24) hours prior to the auction.

3. BIDDING FOR ANOTHER PERSON If you are bidding as an agent on behalf of another person, your principal must be a registered bidder and must provide us with written authorization

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allowing you to bid. You, as the agent, shall accept personal liability to pay the purchase price and all other sums due unless we have agreed in writing before the auction that you are acting as an agent on behalf of your principal and that we will only seek payment from your principal.

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

5. OUR BIDDING SERVICES We offer the following bidding services as a convenience to our clients, subject to these Conditions of Sale. We shall not be responsible for any error, omission, or failure, human or otherwise, in providing these services. (a) Phone Bids: You must contact us at least twenty-four (24) hours prior to the auction to arrange a phone bid. We will accept bids by telephone for lots only if our staff is available to take the bids. We agree that we may record telephone bids. (b) Internet Bids: You can bid in our live sales via our bidding platform or through third-party bidding sites. (c) Written Bids: You can find a Written Bid Form in the back of our catalogues, at the auction location, or online at www.hindmanauctions.com. We must receive your completed Written Bid Form at least twenty-four (24) hours before the auction. We will endeavor to execute written bids at the lowest possible price consistent with the reserve. If you make a written bid on a lot that does not have a reserve and there is no higher bid than yours, we will bid on your behalf at approximately fifty percent (50%) of the low estimate or, if lower, the amount of your bid. The first written bid we receive of those for identical amounts will be given priority over other bids.

6. CREDIT CARD AUTHORIZATION HOLD When you register to bid you may be asked to provide us with a valid credit card number. You authorize us to verify the validity of the credit card by placing a $100 authorization hold on the card that will remain until it falls off, usually within 48 hours.

C. DURING THE AUCTION

1. BIDDING IN THE AUCTION (a) Live Auctions. We will appoint an individual auctioneer to administer a live auction. The auctioneer may accept bids from (a) written bids left with us by bidders before the auction; (b) bidders in the saleroom; (c) telephone bidders; and (d) Internet bidders. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/ her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding. (b) Online-only Auctions. Bids may only be submitted on our website or through third-party bidding sites between the dates and times specified in the lot’s description. Your bid is submitted once you place and confirm your bid amount. You agree that a bid is final once it is placed and that you may never amend or revoke your bid. You are fully responsible for any errors you make in bidding. Bidding generally opens at or below the low estimate and increases in steps (bidding increments) to be determined in Hindman’s sole discretion.

2. AUCTIONEER’S DISCRETION The auctioneer shall have absolute discretion to (a) admit a bidder into or remove a bidder from the saleroom or online auction; (b) accept or refuse any bid; (c) change the order of the lots in the auction; (d) move the bidding backward or forward; (e) withdraw any lot from the auction; (f) divide any lot or combine any two or more lots; (g) reopen or continue the bidding even after the hammer has fallen; and (h) continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot in the event that there is an error or dispute related to bidding or the application of the reserve, whether during or after the auction.

You must provide us with written notice within three (3) business days of the date of the auction if you believe that the auctioneer has accepted the successful bid in error. The auctioneer will consider the claim and decide in good faith if the sale of the lot is final, whether he/she will cancel the sale of the lot, or whether he/she will reoffer and resell the lot. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way affect our ability to cancel the sale of a lot under other applicable provisions of these Conditions of Sale, including the rights of cancellation set forth in sections B(1), D(6), E(2), and G(1).

3. BIDDING ON BEHALF OF THE SELLER The auctioneer may, at his/her sole option, bid on behalf of the seller up to one bidding increment before the reserve by making either consecutive or responsive bids. The auctioneer will not identify these as bids made on behalf of the seller. If a lot is offered without reserve, the auctioneer will open the bidding at approximately fifty percent (50%) of the lot’s low estimate; where

necessary, will lower the asking bid until a bid is received; and will solicit higher bids from that amount. If there are no bids on a lot, the auctioneer may deem the lot unsold.

4. SUCCESSFUL BIDS AND INVOICES Subject to paragraph C(2), the contract of sale between the seller and the successful bidder is formed when the final bid is accepted and the auctioneer’s hammer strikes. The successful bid price is the hammer price, and we will issue an invoice only to the registered bidder who made the successful bid.

While we send out invoices by mail and/or email after the auction, we shall not be responsible for telling you whether your bid was successful. You should contact us immediately after the auction to find out the success of your bid in order to avoid having to pay storage charges.

D. AFTER THE AUCTION

1. THE BUYER’S PREMIUM In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots, we charge twenty-five percent (25%) of the hammer price up to and including $400,000; twenty percent (20%) of any amount in excess of $400,001 up to and including $4,000,000; and twelve percent (12%) of any amount in excess of $4,000,001. If the bidder bids through a third-party platform the bidder agrees to pay us a surcharge equal to the fee levied by the third-party platform. The third-party platform fee is in addition to the buyer’s premium.

2. TAXES The successful bidder is responsible for any applicable taxes, including any sales or use tax or equivalent tax wherever such taxes may arise on the hammer price, the buyer’s premium, and/or any other charges related to the lot. A sales or use tax is dependent upon a number of factors, including, but not limited to, our volume of sale and the place of delivery of the lot, regardless of the nationality or citizenship of the successful bidder. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped or where it is picked-up in person. We collect sales tax in states where legally required.

3. MAKING PAYMENT (a) Immediately following the auction, you must pay the purchase price, consisting of the hammer price, plus the buyer’s premium, plus any applicable duties and sales, use, or other applicable taxes. Payment is due no later than by the end of the seventh (7th) calendar day following the date of the auction, which we refer to as the due date. (b) We will only accept payment from the registered successful bidder. Once issued, we cannot change the buyer’s name on an invoice or reissue the invoice in a different name. (c) You must pay for lots in US dollars in one of the following ways: (i) Wire transfer. (ii) Bank checks: You must make these payable to Hindman LLC, and we may impose other conditions. Once we have deposited your check, property cannot be released until five (5) business days have passed. (iii) Personal checks: You must make these payable to Hindman LLC, and they must be drawn from US dollar accounts from a US bank. The property will not be released until the check has cleared and the funds are received by us. (d) You must quote your invoice number when making a payment. All payments sent by post must be sent to Hindman LLC, 1338 West Lake Street, Chicago, IL 60607, ATTN: Client Accounting Department.

4. TRANSFERRING OWNERSHIP TO YOU You will not own the lot and title will not pass to you until we have received full payment in good funds of the purchase price, even in circumstances where we have released the lot to you.

5. TRANSFERRING RISK TO YOU Unless we have agreed otherwise with you, the risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following: (a) when you collect the lot; or (b) the end of the thirtieth (30th) day following the date of the auction or, if earlier, the date the lot is taken into care by a third-party warehouse.

6. YOUR FAILURE TO PAY If you fail to pay us the purchase price in full in good funds by the due date, we will be entitled to do one or more of the following (as well as enforce any other rights and remedies we have by law) at our sole discretion: (a) We can charge interest from the due date at a rate of up to one and onehalf percent (1.5%) per month on the unpaid amount due. (b) We can cancel the sale of the lot and sell the lot again, publicly or privately, on such terms as we believe appropriate, in which case you must pay us any shortfall between the amount you owe us and the resale price, plus all costs, expenses, losses, damages, and legal fees we incur due to the cancellation. (c) We can pay the seller the amount due to them, in which case you acknowledge and understand that we will have all the seller’s rights to pursue you for such amount.

(d) We can hold you legally responsible for the amount you owe us and bring legal proceedings against you to recover the amount owed by you, plus other losses, interest, legal fees, and costs as allowed by law. (e) We can reveal your identity and contact details to the seller. (f) We can reject any bids made by or on behalf of you in future auctions or require you to provide us with a deposit before accepting any bids. (g) We can exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest, or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us. (h) We can take any other action we deem necessary or appropriate.

7. SHIPPING, COLLECTION, AND STORAGE (a) You must collect purchased lots within thirty (30) days of the auction.

We can assist in making shipping arrangements by suggesting art handlers, packers, transporters, or experts, but you must arrange all transport and shipping with them, and we are not responsible for their acts, failure to act, or neglect. (b) If you do not collect any purchased lot within thirty (30) days following the auction, we may, at our sole option, (i) charge you storage and insurance costs; (ii) move the lot to another Hindman location or to a third-party warehouse, whereupon we will charge you transport costs, insurance costs, and administration fees for doing so, and you will be subject to the third-party storage warehouse’s standard terms and responsible for paying its standard fees and costs; or (iii) sell the lot in any commercially reasonable way we think appropriate. (c) In accordance with applicable state law, if you have paid for the lot in full but you do not collect the lot within the time specified by the law of the state where the auction takes place, we may charge you state sales tax for the lot. (d) Nothing in this paragraph is intended to limit our rights under paragraph D(6).

8. EXPORTING, IMPORTING, AND ENDANGERED SPECIES (a) The shipping of a lot is affected by United States export laws or the import laws of other countries. If you are outside the United States, then local laws may prevent you from importing a lot. You alone are responsible for seeking advice prior to bidding and meeting the requirements of any law or regulation applying to the export or import of a lot. (b) Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife—such as, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and Brazilian rosewood—may be subject to export controls in the US and import controls in other countries. You should check the relevant wildlife laws and regulations before bidding on any lot containing wildlife material if you plan to export the lot from the United States, import the lot into another country, or ship the lot between states. Your purchase of a lot containing endangered and other protected species of wildlife is at your own risk, and you shall be responsible for any scientific test or other reports required for export from the United States or for shipment between states. We will not cancel your purchase and refund the purchase price if your lot may not be exported, imported, or shipped between states, or if it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to import, export, and/or interstate shipping of a lot containing endangered and other protected species of wildlife.

E. WARRANTIES

1. SELLER’S WARRANTIES For each lot, the seller gives a warranty that the seller (a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot or the right to do so by law; and (b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else. If either of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph D(3) above) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages, or expenses. The seller gives no warranty other than as set out above, and as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller that may be added to this agreement by law, are excluded. No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the seller’s warranties or creates an additional warranty on behalf of the seller with respect to a lot.

Any such representation, other information, or additional warranty shall be null and void.

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2. OUR LIMITED AUTHENTICITY WARRANTY Our limited authenticity warranty, which lasts for one (1) year from the date of a live auction or three (3) months from an online only auction, is that the lots in our sales are authentic as defined in paragraph H, below. You must notify Hindman regarding concerns of authenticity in writing within one (1) year of the date of a live auction or within three (3) months of the date of an online only auction. Following receipt of that written notification, subject to the terms below, Hindman will refund the purchase price paid by the client. The terms of this limited authenticity warranty are as follows: (a) It will be honored for claims notified in writing within a period of one (1) year from the date of a live auction or three (3) months from an online only auction. After such time, we will not be obligated to honor the limited authenticity warranty. (b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the Heading). It does not apply to any information other than that in the Heading, even if it is shown in UPPERCASE type. (c) It does not apply to any Heading or part of a Heading that is qualified.

“Qualified” means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the definition of “qualified” provided in paragraph H, below. Qualified Headings are not covered at all by this limited authenticity warranty. (d) It applies to the Heading as amended by any saleroom notice. (e) It does not apply where scholarship has developed since the auction, leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the auction or drew attention to any conflict of opinion. (f) It does not apply if the lot can only be shown not to be authentic by a scientific process that, on the date we published the catalogue, was not available or generally accepted for use, was unreasonably expensive or impractical, or was likely to have damaged the lot. (g) Its benefit is only available to the original buyer shown on the invoice for the lot, issued at the time of the sale, and only if, on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest, or restriction by anyone else. The benefit of this limited authenticity warranty may not be transferred by the original buyer to anyone else. (h) In order to make a claim under the limited authenticity warranty, you must (i) give us written notice of your claim within one (1) year of the date of a live auction or three (3) months from an online only auction ; (ii) at our option, pay for and provide us with the written opinions of two recognized experts in the field, mutually agreed upon by you and us, confirming that the lot is not authentic (we reserve the right to obtain additional opinions at our expense); and (iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale. (i) Your only right under this limited authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, under any circumstances, be required to pay you more than the purchase price, nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages, or expenses. (j) No employee or agent of Hindman is authorized to make a representation or provide additional information, whether orally or in writing, that amends the limited authenticity warranty or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

3. ADDITIONAL WARRANTY FOR BOOKS If the lot is a book, then we give an additional warranty to the original buyer shown on the invoice for the lot issued at the time of the sale in the following circumstances: (a) We will refund the purchase price to the original buyer if we, in our sole discretion, are convinced that the book is defective in text or illustration, subject to the following terms: (i) This additional warranty does not apply to (A) the absence of blanks, half titles, tissue guards, or advertisements; or damage in respect of bindings, stains, spotting, marginal tears, or other defects not affecting the completeness of the text or illustration; (B) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps, or periodicals; (C) books not identified by title; (D) lots sold without a printed estimate; (E) books that are described in the catalog as sold not subject to return; or (F) defects stated in any condition report or announced at the time of sale. (ii) To make a claim under this additional warranty, you must give written details of the defect within twenty-one (21) days of the date of the sale and return the lot within twenty-one (21) days of the date of the sale to the saleroom at which you bought it in the same condition as at the time of sale. (iii) Paragraphs E(2)(b), (c), (d), (e), (h), and (i) also apply to a claim under this additional warranty. (c) No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the additional warranty for books or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

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4. JEWELRY (a) Colored gemstones (such as rubies, sapphires, and emeralds) may have been treated to improve their appearance through methods such as heating and/or various clarity enhancements. These methods are considered common by the international jewelry trade but may make a gemstone more fragile and/or cause the gemstone to require special care over time. (b) All types of gemstones may have been improved by some method. You may request a gemological report for any item that does not have a report if the request is made to us at least three (3) weeks before the date of the auction and you pay the fee for the report. (c) We do not obtain a gemological report for every gemstone sold in our auctions. When we do get gemological reports from internationally accepted gemological laboratories, such reports are described in the catalogue.

Reports from American gemological laboratories describe any improvement or treatment to the gemstone. Reports from European gemological laboratories describe any improvement or treatment only if we request that they do so, but they do confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree on whether a gemstone has been treated, the amount of treatment, or whether that treatment is permanent. The gemological laboratories only report on the improvements or treatments known to them at the date they make the report. (d) For jewelry sales, estimates are based on the information in any gemological report. If no report is available, assume that the gemstones may have been treated or enhanced.

5. WATCHES AND CLOCKS (a) Almost all clocks and watches are repaired in their lifetime and may include parts that are not original. We do not give a warranty that any individual component part of any watch is authentic. Watchbands described as “associated” are not part of the original watch and may not be authentic.

Clocks may be sold without pendulums, weights, or keys. (b) As collectors’ watches often have very fine and complex mechanisms, you are responsible for any general service, change of battery, or further repair work that may be necessary. We do not give a warranty that any watch is in good working order. Certificates are not available unless described in the catalogue. (c) Most wristwatches have been opened to find out the type and quality of movement. For that reason, wristwatches with water-resistant cases may not be waterproof, and we recommend you have them checked by a competent watchmaker before use. (d) Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile skin. When straps are shown for display purposes only and are not for sale. We may remove and retain the strap prior to shipment from the sale site. Please check with the department for details on a lot with such a strap.

6. YOUR WARRANTIES You warrant to us and the seller that (a) the funds you use for payment are not connected with any criminal activity, including tax evasion, and neither are you under investigation, nor have you been charged with or convicted of money laundering, terrorist activities, or other crimes; (b) where you are bidding on behalf of another person, (i) you have conducted appropriate customer due diligence on the ultimate buyer(s) of the lot(s) in accordance with all applicable anti-money laundering and sanctions laws, you consent to us relying on this due diligence, you will retain for a period of not less than five (5) years the documentation evidencing the due diligence, and you will make such documentation promptly available for immediate inspection by an independent third-party auditor upon our written request to do so; (ii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes; (iii) you do not know, and have no reason to suspect, that the funds used for payment are connected with or the proceeds of any criminal activity, including tax evasion, or that the ultimate buyer(s) are under investigation for, or have been charged with or convicted of, money laundering, terrorist activities, or other crimes.

F. OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees about any lot other than as set out in the limited authenticity warranty or in the additional warranty for books, and as far as we are allowed by law, all warranties and other terms that may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E(1) are their own, and we do not have any liability to you in relation to those warranties. (b) We are not responsible to you for any reason (whether for breaking this agreement or for any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us, or other than as expressly set out in these Conditions of Sale. (c) WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE

OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE. EXCEPT AS REQUIRED BY LOCAL LAW, ANY WARRANTY OF ANY KIND IS EXCLUDED BY THIS PARAGRAPH. (d) Our written and telephone bidding services, online bidding services, and condition reports are free services, and we are not responsible to you for any error, omission, or failure of these services. (e) We have no responsibility to any person other than a buyer in connection with the purchase of any lot. (f) If, despite the terms in paragraphs F(a)–(e) or E(2)–(3) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses.

G. OTHER TERMS

1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained herein, we can cancel a sale of a lot if (i) any of your warranties in paragraph E(4) are not correct; (ii) we reasonably believe that completing the transaction is, or may be, unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS We may videotape and/or audio record proceedings at any auction. We will keep any personal information confidential, except to the extent that disclosure is required by law. If you do not want to be videotaped, you may decide to make a telephone or written bid or bid online instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction.

3. COPYRIGHT We own the copyright in all images, illustrations, and written material produced by or for us relating to a lot, including the contents of our catalogues, unless otherwise noted therein. You cannot use them without our prior written permission. We make no representation and offer no guarantee that the buyer of a lot will gain any copyright or other reproduction rights.

4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is invalid, illegal, or impossible to enforce, that part of the agreement will be treated as being deleted, and the rest of this agreement will not be affected.

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer your rights or responsibilities under these terms unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities.

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

7. WAIVER No failure or delay to exercise any right or remedy contained herein shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.

8. LAW AND DISPUTES This agreement, and any noncontractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot will be governed by the laws of Illinois. Before we or you start any court proceedings (except in the limited circumstances where the dispute, controversy, or claim is related to proceedings brought by someone else and this dispute could be joined to those proceedings), you and we agree to try to settle the dispute by mediation submitted to JAMS, or its successor, for mediation in Illinois. If the dispute is not settled by mediation within sixty (60) days from the date when mediation is initiated, then the dispute shall be submitted to JAMS, or its successor, for final and binding arbitration in accordance with its Comprehensive Arbitration Rules and Procedures or, if the dispute involves a non-US party, the JAMS International Arbitration Rules. The seat of the arbitration shall be Illinois, and the arbitration shall be conducted by one arbitrator, who shall be appointed within thirty (30) days after the initiation of the arbitration. The language used in the arbitral proceedings shall be English. The arbitrator shall order the production of documents only upon a showing that such documents are relevant and material to the outcome of the dispute. The arbitration shall be confidential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be final and binding on all parties involved.

Judgment upon the award may be entered by any court having jurisdiction thereof or having jurisdiction over the relevant party or its assets. This

arbitration and any proceedings conducted hereunder shall be governed by Title 9 (Arbitration) of the United States Code and by the United Nations Convention on the Recognition and Enforcement of Foreign Arbitral Awards of June 10, 1958.

H. GLOSSARY

authentic: a genuine example, rather than a copy or forgery of (a) the work of a particular artist, author, or manufacturer, if the lot is described in the Heading as the work of that artist, author, or manufacturer; (b) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture; (c) a work of a particular origin or source, if the lot is described in the Heading as being of that origin or source; or (d) in the case of gems, a work that is made of a particular material, if the lot is described in the Heading as being made of that material. buyer’s premium: the charge the buyer pays us along with the hammer price. catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice. due date: has the meaning given to it in paragraph D(3)(a). estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range, and high estimate means the higher figure. The mid estimate is the midpoint between the two. hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot.

Heading: has the meaning given to it in paragraph E(2). limited authenticity warranty: the guarantee we give in paragraph E(2) that a lot is authentic. other damages: any special, consequential, incidental, or indirect damages of any kind or any damages that fall within the meaning of “special,” “incidental,” or “consequential” under local law. purchase price: has the meaning given to it in paragraph D(3)(a). provenance: the ownership history of a lot. qualified: has the meaning given to it in paragraph E(2), subject to the following terms: (a) “Cast from a model by” means, in our opinion, a work from the artist’s model, originating in his circle and cast during his lifetime or shortly thereafter. (b) “Attributed to” means, in our opinion, a work probably by the artist. (c) “In the style of” means, in our opinion, a work of the period of the artist and closely related to his style. (d) “Ascribed to” means, in our opinion, a work traditionally regarded as by the artist. (e) “In the manner of” means, in our opinion, a later imitation of the period, of the style, or of the artist’s work. (f) “After” means, in our opinion, a copy or after-cast of a work of the artist. reserve: the confidential amount below which we will not sell a lot. saleroom notice: a written notice posted next to the lot in the saleroom and on www.hindmanauctions.com, which is also read to prospective telephone bidders and provided to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale or before a particular lot is auctioned.

UPPERCASE type: type having all capital letters. warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct.

Updated 4/21

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AMERICAN & EUROPEAN ART | MAY 3, 2021 NO. 869

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