Works by African American Artists by Hindman

lh no.189

Works by African American Artists

Thursday 1 March 2012

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PREVIEW AND EXHIBITION SATURDAY 25 FEBRUARY | 10AM - 3PM MONDAY 27 FEBRUARY | 10AM - 5PM TUESDAY 28 FEBRUARY | 10AM - 5PM WEDNESDAY 29 FEBRUARY | 10AM - 5PM THURSDAY 1 MARCH | 10AM - 5PM AUCTION THURSDAY 1 MARCH I 6PM AUCTION, LOTS 1–39 SELLING EXHIBITION Works available for immediate purchase. Please contact Leslie Hindman Auctioneers for a price list. P R O P E RT Y F R O M T H E CO L L E C T I O N S O F Marjorie and Charles Benton, Evanston, Illinois Paul King and Associates, Chicago, Illinois P roperty from the E stateS of Tom G. and Mary Jane McClain, Phoenix, Arizona Alphanette White Price, Chicago, Illinois

P R O P E RT Y P I C K U P H O U R S MONDAY–FRIDAY, 9:00AM - 4:30PM All property must be picked up within seven business days per our Conditions of Sale.

www.lesliehindman.com Cover Lot 20 Hughie Lee-Smith Acropolis II (detail), 1984

CHICAGO, ILLINOIS ILLINOIS AUCTIONEERS LICENSE NUMBER 041.0000367

Contents AUCTION

ARTIST INDEX

GLOSSARY OF TERMS

AUCTION INQUIRIES

CONDITIONS OF SALE

TELEPHONE / ABSENTEE BID FORM

Selling exhibition

Opposite Lot 8 Alma Woodsey Thomas Abstract Composition (detail), 1972

Works by African American Artists Auction | Lots 1 â&#x20AC;&#x201C; 39

Opposite Lot 39 Robert Scott Duncanson The Apennines, Italy (detail), 1867

Ed Clark

(American, b. 1926) Paris, 1992 mixed media on paper signed Clark, titled, and dated (lower right) 29 1/2 x 40 1/2 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois $3,000-5,000

ED CLARK (b. 1926) Born in Louisiana, the celebrated international artist Ed Clark began his formal artistic education at the Art Institute of Chicago in the 1940s. His move to France in the 1950s is credited as the period in which he developed a mature approach to his art with oversized canvases, large brushstrokes, and an intense focus on color. Within the relaxed and culturally tolerant atmosphere of Paris, Clark was able to establish his style and career free from the restraints of prejudice. Returning to the United States in 1957, he aligned himself with fellow Abstract Expressionists at a small art cooperative in New York City called the Brata Gallery. His lack of funds there led to experimentation and the development of his shaped paper canvases, which became a hallmark of his style. Works such as Paris display his shift towards more tubular forms and curvilinear brushstrokes in his later career, contrasting with the strict horizontality of his earlier works. Clark continues to live and work in New York City with frequent trips to his much-loved Paris, continuing the evolution of his artistic voice.

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Sam Gilliam

SAM GILLIAM (b. 1933)

(American, b. 1933) (White) Tre, 1994 mixed media signed Sam Gilliam, titled, and dated (lower right) 35 3/4 x 29 inches. $2,000-4,000

Sam Gilliamâ&#x20AC;&#x2122;s distinct interest in bold, rich colors

geometric forms and his dynamic use of color

Sam Gilliam

brought him to Washington, D.C. in 1962 to join the Lyrical Abstraction movement and the second generation of Washington Color Painters. He regularly pushes the boundaries of the media he works with, creating tension between regular

(American, b. 1933) Coffee Tyme II intaglio on color lithograph edition 15/65, signed illegibly (lower center) 31 x 40 1/2 inches.

and texture. Gilliam first rose to prominence with

Provenance: Vermillion Editions, St. Paul, Minnesota $1,000-2,000

steadily evolved over the course of his career.

his large scale, unstretched canvases suspended from walls or ceilings, that he had variously soaked, stained, and splattered in luminous layers of bright color. His style and techniques have In the seventies, Gilliam began to look toward the work of jazz musicians Miles Davis and John Coltrane, producing dynamic geometric collages with vibrant colors that pulsated and jumped off the surface. During the eighties, he cut his thickly painted canvases into regular shapes and stitched them together, reminiscent of the patchwork quilts of his childhood. Gilliam later incorporated more sculptural elements into his richly textured canvases. He continues to live and work in Washington, D.C.

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Allen Stringfellow

(American, 1923-2004) Road to the Capitol ink and gouache on paper signed Stringfellow (lower right) 28 1/2 x 6 3/4 inches. $700-900 4

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Raymond Saunders

(American, b. 1934) Untitled (Profile) color lithograph with paper collage 28 3/4 x 23 1/4 inches. $800-1,200

Norman Lewis

NORMAN LEWIS (1909-1979)

(American, 1909-1979) Abstraction (with Circles) ink on paper signed Norman Lewis and dated illegibly (lower right) 19 1/2 x 25 1/2 inches. $800-1,200

Norman Lewis was born in New York City in 1909

Arts and Crafts. Later in the 1930s, he became

Norman Lewis

(American, 1909-1979) Untitled, 1959 oil on paper signed Norman Lewis and dated (lower left) 18 x 24 inches. $3,000-5,000

and practiced during a period of great activity in the city’s African American art community. In Harlem, he attended art workshops with contemporary Jacob Lawrence and studied under Augusta Savage at the Savage Studio of an art teacher for the Federal Arts Project at the Harlem Community Arts Center. Despite his deep involvement in the African American arts community, Lewis believed that art should speak for itself. In art, he felt “political and social aspects should not be the primary concern; esthetic ideas should have preference.” Over the course of his career, his works shifted from a figural focus to a more pure abstraction, exemplified in his works featured here. Lewis was the first African American to receive the Carnegie International Award in Painting in 1955. In the 1960s, he became a founding member of the Spiral Group and a co-founder, along with Romare Bearden and Ernest Crichlow, of the Cinque Gallery, which supported emerging artists.

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Alma Woodsey Thomas

(American, 1891-1978) Abstract Composition, 1972 acrylic and watercolor on paper signed AW Thomas and dated (lower right) 8 x 8 3/4 inches.

ALMA WOODSEY THOMAS (1891-1978) Alma Thomas began painting her signature brightly colored, densely patterned canvases late in life, after retiring from a thirty-five year career in teaching. She looked to the trees and flowers

Provenance: Mr. and Mrs. Gene Phillips

in her own backyard for inspiration, observing

Exhibited: Fort Wayne, Indiana, Fort Wayne Museum of Art, Fort Wayne Collects $8,000-12,000

across their surfaces. Thomas once stated, “Man’s

the patterns created by the ever changing light highest inspirations come from nature. A world without color would seem dead. Color is life. Light is the mother of color. Light reveals to us the spirit and living soul of the world through colors.” She believed the creative spirit was independent of race or gender, and made several major accomplishments in her career: she was the first African American woman to earn a Master’s degree in art from Columbia University, and in 1972, at the age of 80, she was the first African American woman to have a solo show at the Whitney Museum of American Art. Today her pieces are staples in many major collections, including the private quarters of the White House.

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Richard Howard Hunt

(American, b. 1935) Landscape Variations bronze inscribed RH (lower left) 8 1/4 x 8 1/4 inches. Property from the Estate of Tom G. and Mary Jane McClain, Phoenix, Arizona $500-700

Born and raised in Chicago, Richard Hunt and

10*

worked. He combined his love of metal with

Richard Howard Hunt

organic shapes, and was intrigued by insect and

(American, b. 1935) Untitled, 1974 bronze inscribed R. Hunt and dated (bottom edge) Height: 13 inches. Property from the Estate of Tom G. and Mary Jane McClain, Phoenix, Arizona $1,000-2,000

his work are products of his environment. He describes his work as “the reconciliation of the organic and the industrial.” Hunt became interested in metalwork at an early age, visiting the African collections at the Chicago Field Museum of Natural History, where his mother

animal forms after working for a zoological lab at the University of Chicago. Hunt felt metal was the medium of the twentieth century and graduated from the Art Institute of Chicago with a focus on sculpture and welding. His first experimentation with his “Hybrid Figures” (the combination of open and closed forms) was in the late 1960s

11*

and his work evolved over the decades. These

Richard Howard Hunt

figures and his other sculptures went on to garner

(American, b. 1935) Untitled, 1969 bronze inscribed R. Hunt and dated (along base) Height: 16 inches. Property from the Estate of Tom G. and Mary Jane McClain, Phoenix, Arizona $2,000-4,000

RICHARD HOWARD HUNT (b. 1935)

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national and international acclaim and in 1971, he became the first African American artist to be honored with a retrospective at the Museum of Modern Art.

Kara Walker

(American, b. 1969) Mon Ennemi, Mon FrĂ¨re, Mon Bourreau, Mon Amour color poster 50 x 39 1/2 inches. $200-400 13*

Bernard Williams

(American, 20th/21st century) Builders (four pieces) painted wood Largest: 17 1/2 x 38 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois $800-1,200 14

Benny Andrews

(American, 1930-2006) New York CafĂŠ lithograph edition 154/250, signed Benny Andrews and titled (lower right) 10 1/2 x 14 1/4 inches. $800-1,200

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15*

Jacob Lawrence

(American, 1917-2000) Windows, 1977 color offset lithograph edition 78/300, signed Jacob Lawrence and dated (lower right); titled (lower center) 18 x 22 inches. Ref: Nesbett, 77-4 Property from the Collection of Marjorie and Charles Benton, Evanston, Illinois $2,000-4,000

Jacob Lawrence’s distinctive style of narrative painting features a flattened picture plane and boldly colored figures. He made his mark on the art world in 1941 with his narrative Migration Series, which depicted the transition of millions of African Americans from the rural South to the urban North. He was one of the first African Americans to have major gallery representation, exhibiting regularly at Edith Halpert’s notable Downtown Gallery with

16*

artists such as Georgia O’Keeffe and Stuart

Jacob Lawrence

Davis. Drawing inspiration from the struggles,

(American, 1917-2000) Carpenters, 1977 color offset lithograph edition AP 3/10, signed Jacob Lawrence and dated (lower right); titled (lower center) 18 x 22 inches. Ref: Nesbett, 77-2 Property from the Collection of Paul King and Associates, Chicago, Illinois $2,000-4,000

aspirations, and accomplishments of the African American community, Lawrence continued to work in a serial format, painting vivid collagelike works while, according to scholar Milton Brown, “insisting on the larger human struggle for freedom and social justice in all the world and for all people.” Throughout the latter part of his career, Lawrence committed himself to commissions, especially limited edition prints

17*

and murals. Nearly all of his prints have provided

Jacob Lawrence

funding for nonprofit organizations such as

(American, 1917-2000) Tools, 1977 color offset lithograph edition 109/300, signed Jacob Lawrence, and dated (lower right); titled (lower center) 21 3/4 x 18 inches. Ref: Nesbett, 77-3 Property from the Collection of Paul King and Associates, Chicago, Illinois $2,000-4,000

JACOB LAWRENCE (1917-2000)

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the NAACP Legal Defense Fund, the Amistad Research Foundation, the Children’s Defense Fund and the Schomburg Center for the Research in Black Culture.

Charles McGee

(American, b. 1924) Ring Around the Rosy oil on board signed C. McGee (lower right) 26 1/2 x 68 inches. $1,500-2,500

CHARLES MCGEE (b. 1924) Charles McGee was born in Clemson, South Carolina in 1924. He displayed artistic tendencies at a young age, proving himself a skillful craftsman of ax handles. His family left their rural home when McGee was ten, moving to the bustling metropolis of Detroit, where he attended school for the first time. Though McGee was able to catch up to his classmates quickly, he had to leave after the tenth grade to begin supporting himself. Returning to Detroit after serving in World War II, McGee took a menial job in order to focus his creative energies on painting in his spare time. He spent a decade, from 1947 through 1957, attending classes at the Society of Arts and Crafts. Despite his classical training there, McGee preferred to explore the ever-evolving facets of art, continuously changing his style and experimenting with new materials and methods. McGee has been a vital force in the artistic community of Detroit, including teaching for eighteen years at Eastern Michigan University, co-founding the Contemporary Art Institute of Detroit, and continuing to contribute works to gallery exhibitions.

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Bob Thompson

(American, 1937-1966) Untitled (After Seurat) mixed media 6 x 9 1/4 inches. $3,000-5,000

BOB THOMPSON (1937-1966) Brought up in a middle-class community in Kentucky, Bob Thompson began studying art after an unhappy year of pre-medical studies at Boston University. Upon finishing his art degree, Thompson moved to Provincetown, Massachusetts in 1958 where he developed his craft and became a part of the lively artist community, befriending and absorbing the philosophies of many artists who would later become his contemporaries in New York City. In 1961, Thompson was awarded a Whitney Foundation fellowship, which he used to travel to London and Paris. Inspired by the works of Old Master artists such as Titian, Goya, and Gauguin, he and his wife settled briefly in Ibiza, Spain. Returning to New York City in 1963, Thompsonâ&#x20AC;&#x2122;s style became much more expressive of his narratives. His art was highly influenced by the flat, bright color planes and evocative lines developed by the Fauves at the beginning of the nineteenth century. His figural works often explored the Biblical and mythological scenes which had permeated the works of the Old Masters he had so admired in Europe. Deep emotion and visionary iconography resonate throughout his works. Thompsonâ&#x20AC;&#x2122;s career was cut short when he passed away in Rome in 1966 due to his continued drug abuse following gall bladder surgery. His oeuvre remains in many museums and collections throughout the United States.

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Hughie Lee-Smith

HUGHIE LEE-SMITH (1915-1999)

(American, 1915-1999) Acropolis II, 1984 oil on canvas signed Lee-Smith (lower right) 21 3/4 x 27 3/4 inches. $20,000-30,000

Hughie Lee-Smith developed an engaging and

in a social realist style reminiscent of Ben Shahn.

Hughie Lee-Smith

As his career progressed, and he experienced the

(American, 1915-1999) The Veil oil on canvas signed Lee-Smith (lower left) 36 x 46 inches. $20,000-30,000 22

Hughie Lee-Smith

(American, 1915-1999) Meditation oil on canvas signed Lee-Smith (lower right) 24 x 20 inches. $8,000-12,000

complex personal style over the course of his distinguished artistic career. While employed by Ohio’s Works Progress Administration, his early works focused on political and patriotic themes

realities of World War II and later the Civil Rights Movement, his works reflected the psychological tensions of the human experience, often through lone figures in desolate urban settings. Holland Cotter wrote in Lee-Smith’s New York Times obituary: “Mr. Lee-Smith’s paintings usually have spare settings suggestive of theater stages or bleak urban or seaside landscapes. Walls stretch out under gray skies. Men and women, as lithe as dancers, seem frozen in place. Most are dressed in street clothes; some wear exotic masks. Children frequently appear, as do props reminiscent of circuses. The work has an air of mystery associated with the paintings of Giorgio de Chirico and Edward Hopper.”

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Frederick D. Jones Jr. (American, 1914-2004) The Fishermen watercolor signed Fred Jones (lower right) 15 1/4 x 11 1/4 inches. $800-1,200 24

Frederick D. Jones Jr. (American, 1914-2004) Madonna and Child watercolor signed Fred Jones (lower right) 11 1/4 x 8 1/2 inches. $700-900 25

Frederick D. Jones Jr.

FREDERICK D. JONES JR. (1914-2004) Fred Jones began his artistic career when, as a young man working as a janitor at the Coca-Cola Company, an executive found his notebook of drawings and was so impressed he decided to sponsor his education at the Art Institute of Chicago. Since then, Jones has been a cornerstone of the African American arts community, working at the South Side Community Art Center where Jones felt “you met people who were polished in their art and … were learning and building a type of art that was significant to the art center … and [they] learned it from each other.”

(American, 1914-2004) The Dovecote watercolor signed Fred Jones (lower center) 11 x 7 3/4 inches. $700-900 26

Frederick D. Jones Jr. (American, 1914-2004) Preparing for Services watercolor signed Fred Jones (lower right) 17 1/2 x 13 inches. $400-600 27

Frederick D. Jones Jr. (American, 1914-2004) Julie oil on canvasboard 20 x 15 3/4 inches. $800-1,200

23 28

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27 29

Margaret Taylor Goss Burroughs (American, 1917-2010) Black Venus linocut edition 26/50, signed Margaret Burroughs (lower right) and titled (lower left) 14 x 11 inches. $1,000-2,000 29

Margaret Taylor Goss Burroughs (American, 1917-2010) On the Beach linocut edition 26/50, signed Margaret Burroughs (lower right) and titled (lower left) 11 x 14 1/4 inches. $800-1,200 30

Lorenzo Pace

(American, b. 1943) African King carved wood Height: 75 inches. $1,000-2,000

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Sam Middleton

(American, b. 1927) Morning Mist, 1978 mixed media on paper signed Middleton and dated (lower right); signed Middleton, titled, and dated (verso) 11 1/2 x 8 1/2 inches. $600-800

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Alvin Carl Hollingsworth

(American, 1928-2000) Golden Haired Girl with Bird oil on canvas signed A. Hollingsworth (upper right) 36 x 14 inches. $600-800

32 33

33*

Romare Bearden

(American, 1911-1988) Black Enterprise silkscreen edition 67/100, signed Romare Bearden (lower right) and titled (lower left) 24 x 19 3/4 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois $1,000-2,000 34

Romare Bearden

(American, 1911-1988) Out Chorus (Le Jazz) lithograph edition 10/50, signed Romare Bearden and titled (lower right) 15 1/2 x 21 1/4 inches. $1,000-2,000

ROMARE BEARDEN (1911-1988) Born in Charlotte, North Carolina, Romare Bearden and his family moved to New York City during the Great Migration, and the memories and experiences of the rural South and the urban North provided him with a rich source of subject matter. The Bearden family took an active role in the Harlem Renaissance, and their circle of friends included Langston Hughes, Duke Ellington, and W.E.B. DuBois; Bearden’s studio was even above the Apollo Theatre in Harlem. A multi-talented artist, he was the author of scholarly books and a jazz aficionado, writing and recording his own songs. The influence of jazz is prevalent in Bearden’s oeuvre, as he saw collage, with its vast array of materials, patterns and colors, as a way to express the rhythms of the music. His vibrant collages were a way to “redefine the image of man in terms of the black experience.” He once stated: “It is not my aim to paint about the Negro in terms of propaganda… [but] the life of my people as I know it, passionately and dispassionately as Brueghel. My intention is to reveal through pictorial complexity the life I know.”

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34 35

35*

William Edouard Scott

(American, 1884-1964) The Orange Seller oil on canvas signed W.E. Scott (lower left) 22 1/4 x 32 inches. Property from the Estate of Alphanette White Price, Chicago, Illinois $3,000-5,000

William Edouard Scott’s relatively comfortable upbringing in Indianapolis in the late 1800s allowed him to explore his artistic inclinations at a young age. Encouraged by his art teacher, Scott moved to Chicago to pursue his studies at the Art Institute, graduating in 1907. He pursued

36*

his career in France where artist Henry Ossawa

William Edouard Scott

Tanner took the young expatriate under his wing.

(American, 1884-1964) The Daily Catch oil on board signed W.E. Scott (lower left) 17 3/4 x 22 inches. Property from the Estate of Alphanette White Price, Chicago, Illinois $3,000-5,000 37*

William Edouard Scott

The combination of Tanner’s influence and French culture exhibited itself in Scott’s works through his cool color palette and depictions of the power struggle between the rich bourgeoisie and impoverished peasants of the country. Returning to the United States in 1914, Scott opened a studio in Chicago and established himself as a mural painter throughout Illinois and Indiana. As Scott

(American, 1884-1964) Woman and Child at the Lake oil on board signed Scott (lower left) 10 x 12 inches. Property from the Estate of Alphanette White Price, Chicago, Illinois $2,000-4,000

traveled throughout the American South and

diagnosed with diabetes – the disease that would

Arthur Diggs

(American, b. 1888) Wooded Landscape oil on canvas signed Arthur Diggs (lower right) 26 1/4 x 31 3/4 inches. $300-500

WILLIAM EDOUARD SCOTT (1884-1964)

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Haiti, his earlier focus on France’s underprivileged shifted to portrayals of the beauty, strength, and struggles in the lives of African Americans and Haitians, with the bright colors of the Caribbean bringing a vibrancy to his palette. A trip to Mexico in 1955 was cut short when Scott was eventually cripple him later in life. He spent the remainder of his career depicting those scenes which had always moved him: the pain and strength of the downtrodden.

Robert Scott Duncanson

(American, 1821-1872) The Apennines, Italy, 1867 oil on canvas signed Duncanson and dated (lower left); titled, signed, and dated (verso) 10 x 16 inches. Provenance: By descent in the family to the present owner $30,000-50,000

ROBERT SCOTT DUNCANSON (1821-1872) Robert Scott Duncanson was among the first African Americans to earn national and international acclaim for his paintings. Born in New York in 1821 to a Scottish-Canadian father and a free African American mother, Duncanson’s training as a painter began with an apprenticeship in the family house painting and carpentry business. He yearned to paint more than houses and soon taught himself to paint by copying images of popular prints. By the 1840s, Duncanson was living and working in Cincinnati and eventually had a studio adjoining noted Hudson River School artist, William Sonntag. He traveled widely throughout Europe, often with Sonntag and fellow artist Worthington Whittredge, sketching the countryside of Scotland and Italy while absorbing the works and motifs of his predecessors. During the Civil War he went into a self-imposed exile, living and working in both Canada and the United Kingdom, supported both at home and abroad by a network of abolitionist patrons. Urged by his son to feature his African American roots more prominently in his works, Duncanson once wrote: “I have no color on the brain; all I have on the brain is paint.”

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Works by African American Artists Selling Exhibition

Opposite Cheryl Warrick Voices of the Heart (detail), 2000

Samuel Akainyah

(Ghanaian/American, b. 1953) Crowd of People, 1992 pastel on paper signed Akainyah and dated (lower right) 28 1/2 x 42 1/2 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

Samuel Akainyah

(Ghanaian/American, b. 1953) Tree on the Lake oil on board 45 x 62 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

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Samuel Akainyah

(Ghanaian/American, b. 1953) Beach Scene oil on board 35 1/2 x 47 1/4 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

Othello Anderson

(American, 20th century) Lake Effect Series (six works) photographs 8 3/4 x 13 inches (each). Property from the Collection of Paul King and Associates, Chicago, Illinois

William Ellsworth Artis (American, 1914-1977) Stoneware Vase glazed ceramic signed W.E. Artis Height: 15 1/2 inches.

Radcliffe Bailey

(American, b. 1968) Spiritual Migration/Where Four Winds Meet color poster 32 1/2 x 22 3/4 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

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Romare Bearden

(American, 1911-1988) Dreams of Exile lithograph edition 56/100, signed Romare Bearden (lower right) and titled (lower left) 21 3/4 x 16 3/4 inches.

Lilian Thomas Burwell

(American, b. 1927) From Two Fragments, May 1992 acrylic on canvas over shaped wood signed Lilian Thomas Burwell and dated (left edge) Height: 13 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

Lilian Thomas Burwell

(American, b. 1927) Cotinga acrylic on canvas over shaped wood Height: 21 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

Elizabeth Catlett

(American, b. 1915) Survivor, 1983 linocut edition 723/1000, signed E. Catlett and dated (lower right) 9 1/4 x 7 1/2 inches.

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Ed Clark

(American, b. 1926) American in Paris color poster 24 x 24 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

Paul Collins

(American, b. 1936) Portrait of a Man charcoal on paper signed Paul Collins (lower left) 31 x 23 inches.

Mary Reed Daniel

(American, b. 1946) Another Urban Garden #7 mixed media 15 1/2 x 19 1/4 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

Mary Reed Daniel

(American, b. 1946) Another Urban Garden #8 mixed media signed Mary Reed Daniel (lower right) 15 1/4 x 19 1/4 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

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Alonzo Davis

(American, b. 1942) Madelineâ&#x20AC;&#x2122;s Way acrylic on woven paper 22 x 30 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

Alonzo Davis

(American, b. 1942) Mousonsky acrylic on woven paper 22 1/4 x 29 3/4 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

Alonzo Davis

(American, b. 1942) Opal acrylic on woven paper 22 x 30 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

Alonzo Davis

(American, b. 1942) Pathway to Gold (from Passageway Series), 2007 mixed media signed Alonzo Davis, titled, and dated (verso) 39 1/2 x 14 1/2 inches.

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Alonzo Davis

(American, b. 1942) Skiny Minie (from Passageway Series), 2005 mixed media signed Alonzo Davis, titled, and dated (verso) 22 x 15 inches.

Alonzo Davis

(American, b. 1942) River Road (from Passageway Series), 2007 mixed media signed Alonzo Davis, titled, and dated (verso) 40 1/4 x 15 inches.

Alonzo Davis

(American, b. 1942) Power Pole I, 2004 mixed media on bamboo signed Alonzo Davis and dated (bottom) Height: 84 inches.

Alonzo Davis

(American, b. 1942) Power Pole II mixed media on bamboo Height: 84 inches.

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Alonzo Davis

(American, b. 1942) Power Pole III mixed media on bamboo Height: 72 inches.

Alonzo Davis

(American, b. 1942) Power Pole IV mixed media on bamboo Height: 84 inches.

Alonzo Davis

(American, b. 1942) Power Pole V, 2008 mixed media on bamboo signed Alonzo Davis and dated (bottom) Height: 73 inches.

Carole Harris

(American, 20th/21st century) Turquoise and Purple Quilt, 1997 fabric quilt signed C. Harris and dated (lower left) 53 1/2 x 53 1/2 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

Carole Harris

(American, 20th/21st century) Black and Turquoise Quilt fabric quilt 52 1/2 x 52 1/2 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

Calvin B. Jones

(American, 1934-2010) Abstract Composition in Colors mixed media on board signed C. Jones (lower right) 33 1/2 x 39 inches.

Calvin B. Jones

(American, 1934-2010) Abstract Composition in White mixed media on canvas 23 1/2 x 30 inches.

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Whitfield Lovell

(American, b. 1959) Woman with Cards lithograph with mixed media additions edition 26/50, signed Whitfield Lovell (lower right) 17 x 10 inches.

Theresa Ramey

(American, 20th century) Blue Elements watercolor 10 x 13 3/4 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

Walter Sanford

(American, 1915-1987) Abstract Composition, 1968 oil on board signed Sanford and dated (lower right) 32 x 42 inches.

Cheryl Warrick

(American, b. 1956) Voices of the Heart, 2000 acrylic on canvas signed Warrick, titled, and dated (verso) 60 x 60 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

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Kylis Winborne

(American, 20th century) Carnations, 1992 cray-pas on paper signed ÂŠ Kylis P. Winborne and dated (lower right) 29 3/4 x 22 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

Kylis Winborne

(American, 20th century) Mixed Bouquet, 1991 cray-pas on paper signed ÂŠ Kylis P. Winborne and dated (lower right) 30 x 22 1/4 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

Auction Artist Index

Glossary of Terms

Andrews, Benny

Bearden, Romare

33, 34

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

Burroughs, Margaret Taylor Goss

28, 29

Clark, Edward

Diggs, Arthur

Duncanson, Robert Scott

Gilliam, Sam

2, 3

Hollingsworth, Alvin Carl

Hunt, Richard Howard

9, 10, 11

Jones, Jr., Frederick D.

23-27

Lawrence, Jacob

15-17

Lee-Smith, Hughie

20-22

Lewis, Norman

6, 7

McGee, Charles

Middleton, Sam

Pace, Lorenzo

Saunders, Raymond

Scott, William Edouard

35-37

Stringfellow, Allen

Thomas, Alma Woodsey

Thompson, Bob

Walker, Kara

Williams, Bernard

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LESLIE HINDMAN AUCTIONEERS

ATTRIBUTED TO ADRIAEN JANSZ VAN OSTADE To our best judgment, this work is likely to be by the artist, but with less certainty as in the aforementioned category. STUDIO OF ADRIAEN JANSZ VAN OSTADE To our best judgment, this unsigned work may or may not have been created under the direction of the artist. CIRCLE OF ADRIAEN JANSZ VAN OSTADE To our best judgment, a work by an unknown but distinctive hand linked or associated with the artist but not definitively his pupil. STYLE OF . . . FOLLOWER OF ADRIAEN JANSZ VAN OSTADE To our best judgment, a work by a painter emulating the artistâ&#x20AC;&#x2122;s style, contemporary or nearly contemporary to the named artist. MANNER OF ADRIAEN JANSZ VAN OSTADE To our best judgment, a work in the style of the artist and of a later period. AFTER ADRIAEN JANSZ VAN OSTADE To our best judgment, a copy of a known work of the artist. The term signed and/or dated and/or inscribed means that, in our opinion, a signature and/or date and/or inscription are from the hand of the artist. The term bears a signature and/or a date and/or an inscription means that, in our opinion, a signature and/or date and/or inscription have been added by another hand. Dimensions are given height before width.

Auction Inquiries OFFICE OF THE PRESIDENT Leslie S. Hindman President and CEO leslie@lesliehindman.com 312.334.4200 Gretchen Adams Assistant to the President gretchenadams@lesliehindman.com 312.334.4201

Catalogue Production and Design

CONSIGNMENT DEPARTMENT Fine Art

Cassandra Mead cassandramead@lesliehindman.com 312.334.4210 Ally Beck allybeck@lesliehindman.com 312.447.3262

Leslie S. Hindman leslie@lesliehindman.com Gretchen Burch gretchenburch@lesliehindman.com

Photography

Sarah M. Leonetti sarahleonetti@lesliehindman.com

ESTATES, APPRAISALS AND BUSINESS DEVELOPMENT

Mike Reinders mikereinders@lesliehindman.com

Zachary Hall zacharyhall@lesliehindman.com

Emily Janz emilyjanz@lesliehindman.com 312.334.4204

John Tillman johntillman@lesliehindman.com

Jennifer Pawela Account Executive jenniferpawela@lesliehindman.com 312.334.4228

Elizabeth Rauner Brewer elizabethrauner@lesliehindman.com 312.334.4216 Grace Noell Account Executive gracenoell@lesliehindman.com 312.334.4235

ADMINISTRATION Accounting Katherine Russian Accounting katherinerussian@lesliehindman.com 312.447.3263 Trish Stewart trishstewart@lesliehindman.com 312.334.4224

Client Services Rachel Sauber Client Services Manager rachelsauber@lesliehindman.com 312.334.4207 Alexis Sutcliffe Auction Coordinator alexissutcliffe@lesliehindman.com Sarah Ashley sarahashley@lesliehindman.com 312.280.1212 Whitney L. Krystof whitneykrystof@lesliehindman.com 312.280.1212

ZoĂŤ Bare zoe@lesliehindman.com Hamilton Steele hamiltonsteele@lesliehindman.com

I.T. Specialist David Mei davidmei@lesliehindman.com 312.334.4206

EXHIBITIONS AND INVENTORY CONTROL Gia Spezia Manager gia@lesliehindman.com 312.334.4219 Will Krogman will@lesliehindman.com 312.334.4240 Michael Hosman michaelhosman@lesliehindman.com 312.334.4239 Dave Stecco davids@lesliehindman.com 312.334.4241 Will Sutherland willsutherland@lesliehindman.com 312.334.4239

Jenna M. Romlin Account Executive jennaromlin@lesliehindman.com 312.447.3264 Zack Wirsum Registrar zachary@lesliehindman.com Andy DiFiori andy@lesliehindman.com 630.200.2800

Fine Furniture and Decorative Arts Mike Intihar Senior Specialist mike@lesliehindman.com John P. Walcher Specialist johnwalcher@lesliehindman.com Tara Schlitz tara@lesliehindman.com 312.334.4225 Corbin Horn corbinhorn@lesliehindman.com 312.334.4214 Lauren K. Ross laurenross@lesliehindman.com 312.334.4202 Brenna Tracy Account Executive brennatracy@lesliehindman.com 312.334.4208

Maggie Gottlieb Account Executive maggiegottlieb@lesliehindman.com Rebecca Williams Account Executive rebeccawilliams@lesliehindman.com Tara Quell Account Executive taraquell@lesliehindman.com Lauren E. Shirk Account Executive laurenshirk@lesliehindman.com

Marketplace Elise Moyer elisemoyer@lesliehindman.com 312.447.3261

Asian Works of Art Andrew M. Lick Director andrew@lesliehindman.com Phyllis Kao Account Executive phylliskao@lesliehindman.com 312.447.3260

Fine Books and Manuscripts Mary S. Williams Director marywilliams@lesliehindman.com Kathryn Coldiron Account Executive kathryncoldiron@lesliehindman.com 312.334.4231

Fine Jewelry and Timepieces Alexander Eblen, G.G. Director alexandereblen@lesliehindman.com Jamie Henderson Account Executive jamiehenderson@lesliehindman.com 312.334.4226 Casey Monda Account Executive caseymonda@lesliehindman.com 312.334.4232

Auction Inquiries (Cont...)

Guide for Prospective Sellers

Vintage Couture and Accessories

REGIONAL OFFICES

Abigail Rutherford Director abigail@lesliehindman.com

Palm Beach

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

Casey Monda Account Executive caseymonda@lesliehindman.com 312.334.4232

REGIONAL AUCTION HOUSES Jim Sharp Director jim@lesliehindman.com 312.334.4203

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

Milwaukee 414 East Mason Street Milwaukee, Wisconsin 53202 414.220.9200

324 Royal Palm Way Palm Beach, Florida 33480 561.833.8053

Regional Representatives San Francisco, California Abigail Rutherford 415.796.2566 Rockford, Illinois Janet Moore 815.399.3983 Des Moines, Iowa Joanne Roth 515.274.0037 Mid Atlantic Roger Schrenk and Chris Fultz 703.528.1397 Ohio Macy Nyhart Hansen 513.560.3200

Denver 960 Cherokee Street Denver, Colorado 80204 303.825.1855

Standard Commission Rates Our standard rate of commission is equal to ten percent (10%) of the hammer price on each lot sold for $5,001 or more; fifteen percent (15%) of the hammer price on each lot sold for $2,001 or more but less than $5,001; and twenty-five percent (25%) of the hammer price on each lot sold for $2000 and less with a minimum commission of $25 per lot sold. If your property fails to reach the reserve price agreed upon between you and Leslie Hindman Auctioneers, Inc., you may be obligated to pay a reduced commission rate of five percent (5%) of the reserve price. Shipping Arrangements Leslie Hindman Auctioneers, Inc. can advise you as to how to have your property delivered to our galleries. Packing, shipping and insurance are payable by the seller. In certain instances, packing and shipping costs may be paid by Leslie Hindman Auctioneers, Inc. and deducted from the proceeds of the sale. We may recommend packers and shippers, but we are not responsible for their acts or omissions. Appraisals Appraisals can be arranged for insurance, donation, estate tax, family division or other purposes. Appraisal fees vary according to circumstances. Please contact our Estates and Appraisals Department at 312.280.1212 for further information.

Guide for Prospective Buyers Conditions of Sale Leslie Hindman Auctioneers, Inc. encourages all prospective buyers to read the Conditions of Sale printed in this catalogue. Exhibitions Leslie Hindman Auctioneers, Inc. recommends that all prospective buyers attend the pre-sale exhibition prior to the auction. Staff members are available at our pre-sale exhibitions to advise prospective buyers on particular objects or on any aspect of the bidding process. Estimates Leslie Hindman Auctioneers, Inc. provides catalogue descriptions and pre-auction estimates for each lot included in the sale. These estimates are a guide for prospective bidders. They are not definitive. All pre-sale estimates are subject to revision.

LESLIE HINDMAN AUCTIONEERS

Driving Directions/Parking

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

Bidding generally opens at half the low estimate and advances in the following order, although the auctioneer may vary the bidding increments during the course of the auction. The normal bidding increments are: $0-$200 $200-$500 $500-$1,000 $1,000-$2,000 $2,000-$5,000 $5,000-$10,000 $10,000-$20,000 $20,000-$50,000 $50,000-$100,000 $100,000-$200,000 Over $200,000

$10 $25 $50 $100 $200 $500 $1,000 $2,000 $5,000 $10,000 Auctioneer’s discretion

In-House Bidding Live bidding at Leslie Hindman Auctioneers, Inc. is by paddle only. Please register for a paddle at the entrance of the sales room. If you are the successful bidder, your paddle number and the hammer price will be announced by the auctioneer. Online Bidding Leslie Hindman Auctioneers, Inc. allows absentee and live bidding through our website at www.lesliehindman.com as well as absentee and live bidding through third party online bidding providers which vary by sale. For more information regarding online bidding please visit our website at www.lesliehindman.com. Absentee Bidding If you are unable to attend an auction, you may use the absentee bid form provided at the back of this catalogue. Leslie Hindman Auctioneers, Inc. will exercise written order bids and telephone bids at no additional charge. Lots will always be sold as inexpensively as is allowed other bids and reserves as are on our books or bids executed in competition from the audience. Tax Exempt Notice Lots marked with an asterisk (*) are tax exempt as permitted by law.

From the WEST: Take I-290 east. Take the Paulina Street/Ashland Boulevard exit 28B. Stay straight to go onto West Congress Parkway. Turn left onto South Paulina Street. Take a slight right onto West Ogden Avenue. Turn right onto West Lake Street. Building will be on the left side at 1338 West Lake Street. From the NORTH/NORTHWEST: Take I-90/I-94 east toward Chicago. Take the Ogden Avenue exit 50A. Stay straight to go onto North Racine Avenue. Turn right onto West Lake Street. Building will be on the right side at 1338 West Lake Street. From the SOUTHWEST: Take I-55 north. Exit 292A I-90/I-94 W Wisconsin Follow I-90/I-94 W Wisconsin to the Lake Street exit 51A. Turn left onto West Lake Street. Building will be on the right side at 1338 West Lake Street. From the SOUTH/SOUTHEAST: Take I-90/I-94 west Follow I-90/I-94 W via the exit on the left toward Chicago Loop. Take the Lake Street exit 51A and turn left onto West Lake Street. Building will be on the right side at 1338 West Lake Street. Parking: Leslie Hindman Auctioneers, Inc. has a private parking lot located on Ada Street, diagonally across the steet from our entrance.

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.

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

BEFORE THE SALE Prospective buyers are strongly advised to personally examine any property in which they are interested before the auction takes place. Condition reports are usually available on request, on lots with a low estimate of $300 and above. All lots are sold “AS IS” and without recourse and neither Leslie Hindman Auctioneers, Inc. nor its consignor(s) makes any warranties or representations, express or implied with respect to such lots. Neither Leslie Hindman Auctioneers, Inc. nor its consignor(s) makes any express or implied warranty or representation of any kind or nature with respect to merchantability, fitness for purpose, correctness of the catalogue or other description of the physical condition, size, quality, rarity, importance, medium, material, genuineness, attribution, provenance, period, culture, source, origin, exhibitions, literature or historical significance of any lot sold. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. No statement, whether written or oral, and whether made in the catalogue, or in supplements to the catalogue, an advertisement, a bill of sale, a salesroom posting or announcement, the remarks of an auctioneer, or otherwise, shall be deemed to create any warranty, representation or assumption of liability. Leslie Hindman Auctioneers, Inc. and its consignor(s) make no warranty or representation, express or implied, that the purchaser will acquire any copyright or reproduction rights to any lot sold. Leslie Hindman Auctioneers Inc. expressly reserves the right to reproduce any image of the lots sold in the catalogue.

AT THE SALE Refusal of Admission Leslie Hindman Auctioneers, Inc. has the right, at our complete discretion, to refuse admission to the premises or participation in any auction and to reject any bid. Registration before Bidding A prospective buyer must complete and sign a registration form and provide identification before bidding. We may require bank or other financial references. Bidding as Principal When making a bid, a bidder is accepting personal liability to pay the purchase price, including the buyer’s premium, all applicable taxes and all other applicable charges, unless it has been explicitly agreed upon in writing with Leslie Hindman Auctioneers, Inc. before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Leslie Hindman Auctioneers, Inc., and that Leslie Hindman Auctioneers, Inc. will only look to the principal for payment. Absentee Bids We will use reasonable efforts to carry out written bids given to us at least 24 hours prior to the sale for the convenience of clients who are not present at the auction in person, by an agent or by telephone. Bids must be placed in U.S. dollars. If we receive written bids on a particular lot for identical amounts, and these are the highest bids on the lot at the auction, it will be sold to the person

whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors and omissions in connection with the written bid.

Telephone Bids On lots with a low estimate of $300 and above and if a prospective buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in the bidding by telephone and we do not accept liability for failure to do so or for errors and omissions in connection with telephone bidding. Online Bids We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the Internet or software malfunctions related to the execution of online bids. Reserves Some lots in the sale are subject to a reserve which is the confidential minimum price below which such lot will not be sold. The reserve will not exceed the low estimate of the lot. Reserves are agreed upon with consignors or, in the absence thereof, the absolute discretion of Leslie Hindman Auctioneers, Inc. The auctioneer may open the bidding on any lot below the reserve by placing a bid on behalf of the seller. The auctioneer may continue to bid on behalf of the seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders. With respect to lots that are offered without reserve, unless there are already competing bids, the auctioneer, in his or her discretion, will generally open the bidding at half of the low estimate for the lot. In the absence of a bid at that level, the auctioneer may proceed backwards at his or her discretion until a bid is recognized, and then continue up from that amount. Auctioneer’s Discretion The auctioneer has the right at his or her absolute and sole discretion to refuse any bid, to advance the bidding in such a manner as he or she may decide, to withdraw any lot, and in the case of error or dispute, and whether during or after the sale, to determine the successful bidder, to continue the bidding, to cancel the sale or to reoffer and resell the item in dispute. If any dispute arises after the sale, our sale record is conclusive. Successful Bid The highest bidder acknowledged by the auctioneer will be the purchaser. In the case of a tie bid, the winning bidder will determined by the auctioneer at his or her sole discretion. In the event of a dispute between bidders, the auctioneer has final discretion to determine the successful bidder or to reoffer the lot in dispute. If any dispute arises after the sale, the Leslie Hindman Auctioneers, Inc. sale record shall be conclusive. Title passes upon the fall of the auctioneer’s hammer to the highest acknowledged bidder subject to the Conditions of Sale set forth herein, and the bidder assumes full risk and responsibility.

AFTER THE SALE Buyer’s Premium In addition to the hammer price, the buyer agrees to pay Leslie Hindman Auctioneers, Inc. a buyer’s premium and the applicable sales tax added to the final total.

HAMMER PRICE/BUYER’SPREMIUM First Portion from Portion from Bidding Option $0-$200,000 $200,001-500,000 $500,001 and above In-house 22% 20% 12% lesliehindman.com 22% 20% 12% liveauctioneers.com 24% 22% 14%

security for such purchaser’s obligations to us, any property in our possession owned by such purchaser. At our option, payment will not be deemed to have been made in full until we have collected funds represented by checks, or in the case of bank or cashier’s checks, we have confirmed their authenticity. e.) to offset against any amount owed f.) to not allow any bids at any upcoming auction by or on behalf of the buyer

Payment The buyer must pay the entire amount due (including the hammer price, buyer’s premium, all applicable taxes and other charges) no later than 5 p.m. on the seventh (7) business day following the sale. Payment in U.S. dollars may be made with cash; bank check or cashier’s check drawn on a U.S. bank; money order; or wire transfer unless other arrangements are made with Leslie Hindman Auctioneers, Inc. Leslie Hindman Auctioneers, Inc. reserves the right to hold merchandise purchased by personal check until the check has cleared the bank. The purchaser agrees to pay Leslie Hindman Auctioneers, Inc. a handling charge of $50 for any check dishonored by the drawee. Tax Exempt Notice Lots marked with an asterisk (*) are tax exempt as permitted by law. Collecting Purchases Once Leslie Hindman Auctioneers, Inc. has received all funds due to us, the buyer shall collect purchased lots within seven (7) business days from the date of the sale. Packing and Shipping If your bid is successful, we can provide you with a list of shippers. We will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. Property will not be released to the shipper without the buyer’s written consent and until payment has been made in full. Packing and handling of purchased lots by us is at the entire risk of the purchaser, and Leslie Hindman Auctioneers, Inc. will have no liability of any loss or damage to such items. Non Payment If we do not receive payment in full, in good cleared funds, within seven (7) business days following the sale, we are entitled in our absolute discretion to exercise one or more of the following measures, in addition to any additional actions available to us by law: a.) to impose a late charge of one and a half percent (1.5%) per thirty (30) days of the total purchase price b.) to hold the defaulting buyer liable for the total amount due and to begin legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law c.) to cancel the sale d.) to resell the property publicly or privately with such terms as we find appropriate, to resell the property at public auction without reserve, and with the purchaser liable for any deficiency, cost, including handling charges, the expenses of both sales, our commission on both sales at our regular rate, all other charges due hereunder and incidental damages. In addition, a defaulting purchaser will be deemed to have granted us a security interest in, and we may retain as collateral

g.) to take other action as we find necessary or appropriate

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

LIABILITY Condition Reports Leslie Hindman Auctioneers, Inc. is not responsible for the correctness of any statement of any kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lot. Neither the seller, ourselves, our officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind whatsoever is excluded by this paragraph. Purchased Lots If for any reason a purchased lot cannot be delivered in the same condition as at the time of sale, or should any purchased lot be stolen, mis-delivered or lost prior to delivery, Leslie Hindman Auctioneers, Inc. shall not be liable for any amount in excess of that paid by the purchaser. Legal Ramifications The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the auction and any matters connected with any of the foregoing shall be governed and interpreted by the laws of the jurisdiction in Illinois. If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law. Discretion Any and all of the conditions may be waived or modified in the sole discretion of Leslie Hindman Auctioneers, Inc. 1209

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

Telephone

$10 $25 $50 $100 $200 $500 $1,000 $2,000 $5,000 $10,000 Auctioneer’s discretion

For absentee bids, indicate your limit for each lot. Your bids will be executed at the lowest prices allowed by reserves and other amount. If we receive more than one bid of the same value, the first one received will take precedence. A per lot buyer’s premium is added to the final hammer price as per the following: $0 - $200,000 22% $200,001 - $500,000 20% $500,001+ 12% Leslie Hindman Auctioneers, Inc. is not responsible for failure or other inadvertent errors relating to the execution of your bids.

Lot Number

LOT Description

Absentee

Fax form to 312.280.1211

Live Online

Online registration/bid requests must be received at least 24 hours before the auction begins. Leslie Hindman Auctioneers, Inc. will confirm all bids received by fax or by return email. Phone bids will not be accepted on lots with a low estimate of $300 and below. Leslie Hindman Auctioneers, Inc. allows absentee and telephone bidding registration through our website at www.lesliehindman.com.

189 Name

Sale Number/Name

Business Name

Billing Address

City

State

Country/Zip

Contact Name

Primary Phone

Secondary Phone

Fax

Signature

Date

For Leslie Hindman AUCTIONEERS, INC.

Date

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

Absentee Bid

PHONE BID

(US Dollar Limit)

(PLEASE CHECK)

EXCLUDES BUYER’S PREMIUM

1338 West Lake Street Chicago, Illinois 60607

ph 312.280.1212

fx 312.280.1211

Back-up BId FOR TELEPHONE BIDDERS ONLY

www.lesliehindman.com

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

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