works by african american artists

lh

no.189 Works by African American Artists

Works by African American ArtistsThursday 1 March 2012

P R E V I E W A N D E X H I B I T I O N

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

A U C T I O N

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.

PROPERTY FROM THE COLLECTIONS OF

Marjorie and Charles Benton, Evanston, Illinois Paul King and Associates, Chicago, Illinois PROPERTY FROM THE ESTATES OF

Tom G. and Mary Jane McClain, Phoenix, Arizona Alphanette White Price, Chicago, Illinois

PROPERTY PICK UP HOURS

MONDAY–FRIDAY, 9:00AM - 4:30PM All property must be picked up within seven business days per our

Conditions of Sale.

www.lesliehindman.com

© Leslie Hindman Auctioneers, Inc. 2012

C H I C A G O , I L L I N O I SILLINOIS AUCTIONEERS LICENSE NUMBER 041.0000367

BID LIVE ONLINE

lh

CoverLot 20Hughie Lee-SmithAcropolis II (detail), 1984

Contents

AUCTION 4

SELLING ExHIBITION 40

ARTIST INDEx 58

GLOSSARY OF TERMS 58

AUCTION INQUIRIES 59

CONDITIONS OF SALE 62

TELEPHONE / ABSENTEE BID FORM 64

OppositeLot 8 Alma Woodsey ThomasAbstract Composition (detail), 1972

Works by African American Artists Auction | Lots 1 – 39

OppositeLot 39 Robert Scott DuncansonThe Apennines, Italy (detail), 1867

L E S L I E H I N D M A N A U C T I O N E E R S6

1*Ed Clark(American, b. 1926)Paris, 1992mixed media on papersigned 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

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.

ED CLARK (b. 1926)


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

3Sam Gilliam(American, b. 1933)Coffee Tyme IIintaglio on color lithographedition 15/65, signed illegibly (lower center)31 x 40 1/2 inches.

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

Sam Gilliam’s distinct interest in bold, rich colors

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

geometric forms and his dynamic use of color

and texture. Gilliam first rose to prominence with

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

steadily evolved over the course of his career.

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.

SAM GILLIAM (b. 1933)

9

2

3


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

4

11

5Raymond Saunders(American, b. 1934)Untitled (Profile)color lithograph with paper collage28 3/4 x 23 1/4 inches. $800-1,200

5


Norman Lewis was born in New York City in 1909

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

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

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.

NORMAN LEWIS (1909-1979)6Norman Lewis(American, 1909-1979)Abstraction (with Circles)ink on papersigned Norman Lewis and dated illegibly (lower right)19 1/2 x 25 1/2 inches. $800-1,200

7Norman Lewis(American, 1909-1979)Untitled, 1959oil on papersigned Norman Lewis and dated (lower left)18 x 24 inches. $3,000-5,000

13

6

7


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

Provenance:Mr. and Mrs. Gene Phillips

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

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

in her own backyard for inspiration, observing

the patterns created by the ever changing light

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

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.

ALMA WOODSEY THOMAS

(1891-1978)


9*Richard Howard Hunt(American, b. 1935)Landscape Variationsbronzeinscribed 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

10*Richard Howard Hunt(American, b. 1935)Untitled, 1974bronzeinscribed 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

11*Richard Howard Hunt(American, b. 1935)Untitled, 1969bronzeinscribed 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

Born and raised in Chicago, Richard Hunt and

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

worked. He combined his love of metal with

organic shapes, and was intrigued by insect and

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

and his work evolved over the decades. These

figures and his other sculptures went on to garner

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.

RICHARD HOWARD HUNT (b. 1935)

17

9

11

10


12Kara Walker(American, b. 1969)Mon Ennemi, Mon Frère, Mon Bourreau, Mon Amourcolor poster50 x 39 1/2 inches. $200-400

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

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

14

12

19

13


15*Jacob Lawrence(American, 1917-2000)Windows, 1977color offset lithographedition 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

16*Jacob Lawrence(American, 1917-2000)Carpenters, 1977color offset lithographedition 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

17*Jacob Lawrence(American, 1917-2000)Tools, 1977color offset lithographedition 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’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

artists such as Georgia O’Keeffe and Stuart

Davis. Drawing inspiration from the struggles,

aspirations, and accomplishments of the African

American community, Lawrence continued to

work in a serial format, painting vivid collage-

like 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

and murals. Nearly all of his prints have provided

funding for nonprofit organizations such as

the NAACP Legal Defense Fund, the Amistad

Research Foundation, the Children’s Defense Fund

and the Schomburg Center for the

Research in Black Culture.

JACOB LAWRENCE (1917-2000)

21

17

15

16


18Charles McGee(American, b. 1924)Ring Around the Rosyoil on boardsigned C. McGee (lower right)26 1/2 x 68 inches. $1,500-2,500

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.

CHARLES MCGEE (b. 1924)

23

18


19Bob Thompson(American, 1937-1966)Untitled (After Seurat)mixed media 6 x 9 1/4 inches. $3,000-5,000

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,

Thompson’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. Thompson’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.

BOB THOMPSON (1937-1966)

25

19


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

21Hughie Lee-Smith(American, 1915-1999)The Veiloil on canvassigned Lee-Smith (lower left)36 x 46 inches. $20,000-30,000

22Hughie Lee-Smith(American, 1915-1999)Meditationoil on canvassigned Lee-Smith (lower right)24 x 20 inches. $8,000-12,000

Hughie Lee-Smith developed an engaging and

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

in a social realist style reminiscent of Ben Shahn.

As his career progressed, and he experienced the

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.”

HUGHIE LEE-SMITH (1915-1999)

27

20

21

22


23Frederick D. Jones Jr.(American, 1914-2004)The Fishermenwatercolorsigned Fred Jones (lower right)15 1/4 x 11 1/4 inches. $800-1,200

24Frederick D. Jones Jr.(American, 1914-2004)Madonna and Childwatercolorsigned Fred Jones (lower right)11 1/4 x 8 1/2 inches. $700-900

25Frederick D. Jones Jr.(American, 1914-2004)The Dovecotewatercolorsigned Fred Jones (lower center)11 x 7 3/4 inches. $700-900

26Frederick D. Jones Jr.(American, 1914-2004)Preparing for Serviceswatercolorsigned Fred Jones (lower right)17 1/2 x 13 inches. $400-600

27Frederick D. Jones Jr.(American, 1914-2004)Julieoil on canvasboard20 x 15 3/4 inches. $800-1,200

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.”

23

FREDERICK D. JONES JR.

(1914-2004)

29

24

25 26

27


30

28Margaret Taylor Goss Burroughs(American, 1917-2010)Black Venuslinocutedition 26/50, signed Margaret Burroughs (lower right) and titled (lower left)14 x 11 inches. $1,000-2,000

29Margaret Taylor Goss Burroughs(American, 1917-2010)On the Beachlinocutedition 26/50, signed Margaret Burroughs (lower right) and titled (lower left)11 x 14 1/4 inches. $800-1,200

30Lorenzo Pace(American, b. 1943)African Kingcarved woodHeight: 75 inches. $1,000-2,000

31

28

29


31

31Sam Middleton(American, b. 1927)Morning Mist, 1978mixed media on papersigned Middleton and dated (lower right); signed Middleton,titled, and dated (verso)11 1/2 x 8 1/2 inches. $600-800

33

32

32Alvin Carl Hollingsworth(American, 1928-2000)Golden Haired Girl with Birdoil on canvassigned A. Hollingsworth (upper right)36 x 14 inches. $600-800


33*Romare Bearden(American, 1911-1988)Black Enterprisesilkscreenedition 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

34Romare Bearden(American, 1911-1988)Out Chorus (Le Jazz)lithographedition 10/50, signed Romare Bearden and titled (lower right)15 1/2 x 21 1/4 inches. $1,000-2,000

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.”

ROMARE BEARDEN (1911-1988)

3534

33


35*William Edouard Scott(American, 1884-1964)The Orange Selleroil on canvassigned 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

36*William Edouard Scott(American, 1884-1964)The Daily Catchoil on boardsigned 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(American, 1884-1964)Woman and Child at the Lakeoil on boardsigned Scott (lower left)10 x 12 inches. Property from the Estate of Alphanette White Price, Chicago, Illinois$2,000-4,000

38Arthur Diggs(American, b. 1888)Wooded Landscapeoil on canvassigned Arthur Diggs (lower right)26 1/4 x 31 3/4 inches. $300-500

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

his career in France where artist Henry Ossawa

Tanner took the young expatriate under his wing.

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

traveled throughout the American South and

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

diagnosed with diabetes – the disease that would

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.

WILLIAM EDOUARD SCOTT

(1884-1964)

37

35 37

36 38


39Robert Scott Duncanson(American, 1821-1872)The Apennines, Italy, 1867oil on canvassigned 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 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.”

ROBERT SCOTT DUNCANSON

(1821-1872)

39

39

Works by African American Artists Selling Exhibition

OppositeCheryl WarrickVoices of the Heart (detail), 2000


Samuel Akainyah(Ghanaian/American, b. 1953)Crowd of People, 1992pastel on papersigned 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 Lakeoil on board45 x 62 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

43

Samuel Akainyah(Ghanaian/American, b. 1953)Beach Sceneoil on board35 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)photographs8 3/4 x 13 inches (each). Property from the Collection of Paul King and Associates, Chicago, Illinois


William Ellsworth Artis(American, 1914-1977)Stoneware Vaseglazed ceramicsigned W.E. ArtisHeight: 15 1/2 inches.

Radcliffe Bailey(American, b. 1968)Spiritual Migration/Where Four Winds Meetcolor poster32 1/2 x 22 3/4 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

45

Romare Bearden(American, 1911-1988)Dreams of Exilelithographedition 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 1992acrylic on canvas over shaped woodsigned 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)Cotingaacrylic on canvas over shaped woodHeight: 21 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

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

47

Ed Clark(American, b. 1926)American in Pariscolor poster24 x 24 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

Paul Collins(American, b. 1936)Portrait of a Mancharcoal on papersigned Paul Collins (lower left)31 x 23 inches.


Mary Reed Daniel(American, b. 1946)Another Urban Garden #7mixed media15 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 #8mixed mediasigned Mary Reed Daniel (lower right)15 1/4 x 19 1/4 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

49

Alonzo Davis(American, b. 1942)Madeline’s Wayacrylic on woven paper22 x 30 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois

Alonzo Davis(American, b. 1942)Mousonskyacrylic on woven paper22 1/4 x 29 3/4 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois


Alonzo Davis(American, b. 1942)Opalacrylic on woven paper22 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), 2007mixed mediasigned Alonzo Davis, titled, and dated (verso)39 1/2 x 14 1/2 inches.

51

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

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


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

Alonzo Davis(American, b. 1942)Power Pole IIImixed media on bambooHeight: 72 inches.

Alonzo Davis(American, b. 1942)Power Pole IImixed media on bambooHeight: 84 inches.

Alonzo Davis(American, b. 1942)Power Pole IVmixed media on bambooHeight: 84 inches.

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

53

Carole Harris(American, 20th/21st century)Turquoise and Purple Quilt, 1997fabric quiltsigned 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 Quiltfabric quilt52 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 Colorsmixed media on boardsigned C. Jones (lower right)33 1/2 x 39 inches.

Calvin B. Jones(American, 1934-2010)Abstract Composition in Whitemixed media on canvas23 1/2 x 30 inches.

55

Whitfield Lovell(American, b. 1959)Woman with Cardslithograph with mixed media additionsedition 26/50, signed Whitfield Lovell (lower right)17 x 10 inches.

Theresa Ramey(American, 20th century)Blue Elementswatercolor10 x 13 3/4 inches. Property from the Collection of Paul King and Associates, Chicago, Illinois


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

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

57

Kylis Winborne(American, 20th century)Carnations, 1992cray-pas on papersigned © 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, 1991cray-pas on papersigned © 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

lh

Glossary of Terms

ADRIAEN JANSZ VAN OSTADE

This work, in our best opinion, is by the

named artist.

ATTRIBUTED TO ADRIAEN JANSZ VAN OSTADE

To our best judgment, this work is likely to be

by the artist, but with less certainty as in the

aforementioned category.

STUDIO OF ADRIAEN JANSZ VAN OSTADE

To our best judgment, this unsigned work may

or may not have been created under the direction

of the artist.

CIRCLE OF ADRIAEN JANSZ VAN OSTADE

To our best judgment, a work by an unknown

but distinctive hand linked or associated with the

artist but not definitively his pupil.

STYLE OF . . . FOLLOWER OF ADRIAEN JANSZ VAN OSTADE

To our best judgment, a work by a painter emulating

the 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 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.

Andrews, Benny 14

Bearden, Romare 33, 34

Burroughs, Margaret Taylor Goss 28, 29

Clark, Edward 1

Diggs, Arthur 38

Duncanson, Robert Scott 39

Gilliam, Sam 2, 3

Hollingsworth, Alvin Carl 32

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 18

Middleton, Sam 31

Pace, Lorenzo 30

Saunders, Raymond 5

Scott, William Edouard 35-37

Stringfellow, Allen 4

Thomas, Alma Woodsey 8

Thompson, Bob 19

Walker, Kara 12

Williams, Bernard 13

59

OFFICE OF THE PRESIDENT

Leslie S. HindmanPresident and [email protected]

Gretchen AdamsAssistant to the [email protected]

ESTATES, APPRAISALS AND BUSINESS DEVELOPMENT

Emily [email protected]

Elizabeth Rauner [email protected]

Grace NoellAccount [email protected]

ADMINISTRATION

Accounting

Katherine [email protected]

Trish Stewart [email protected] 312.334.4224

Client Services

Rachel SauberClient Services Manager [email protected]

Alexis Sutcliffe Auction Coordinator [email protected] Sarah [email protected]

Whitney L. [email protected]

Catalogue Productionand Design

Cassandra [email protected]

Ally [email protected]

Photography

Mike [email protected]

John [email protected]

Zoë [email protected]

Hamilton [email protected]

I.T. Specialist

David [email protected]

EXHIBITIONS ANDINVENTORY CONTROL

Gia [email protected]

Will [email protected]

Michael [email protected] Dave Stecco [email protected] 312.334.4241 Will Sutherland [email protected] 312.334.4239

CONSIGNMENT DEPARTMENT

Fine Art

Leslie S. [email protected]

Gretchen [email protected]

Sarah M. [email protected]

Zachary [email protected]

Jennifer PawelaAccount [email protected]

Jenna M. Romlin Account [email protected]

Zack WirsumRegistrar [email protected]

Andy [email protected] 630.200.2800

Fine Furniture and Decorative Arts

Mike IntiharSenior [email protected] John P. [email protected]

Tara [email protected]

Corbin [email protected]

Lauren K. [email protected]

Brenna TracyAccount [email protected]

Maggie GottliebAccount [email protected]

Rebecca WilliamsAccount Executive [email protected]

Tara Quell Account Executive [email protected]

Lauren E. Shirk Account Executive [email protected]

Marketplace

Elise [email protected]

Asian Works of Art

Andrew M. [email protected]

Phyllis KaoAccount [email protected]

Fine Books and Manuscripts

Mary S. [email protected]

Kathryn ColdironAccount [email protected]

Fine Jewelry and Timepieces

Alexander Eblen, [email protected]

Jamie Henderson Account [email protected]

Casey MondaAccount [email protected]

Auction Inquiries


Auction Inquiries (Cont...)Vintage Couture and Accessories

Abigail [email protected]

Casey MondaAccount [email protected]

REGIONAL AUCTION HOUSES

Jim [email protected]

Naples1300 Third Street South, Suite 201Naples, Florida 34102239.643.4448

Milwaukee414 East Mason StreetMilwaukee, Wisconsin 53202414.220.9200

Denver 960 Cherokee StreetDenver, Colorado 80204 303.825.1855

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

Standard Commission RatesOur 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 ArrangementsLeslie 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 SaleLeslie Hindman Auctioneers, Inc. encourages all prospective buyers to read the Conditions of Sale printed in this catalogue.

ExhibitionsLeslie 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.

EstimatesLeslie 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.

REGIONAL OFFICES

Palm Beach324 Royal Palm WayPalm Beach, Florida 33480561.833.8053

Regional Representatives

San Francisco, California Abigail Rutherford415.796.2566 Rockford, IllinoisJanet Moore815.399.3983

Des Moines, IowaJoanne Roth515.274.0037

Mid AtlanticRoger Schrenk and Chris Fultz703.528.1397

OhioMacy Nyhart Hansen513.560.3200

61

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

Bidding at AuctionThe 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 $10 $200-$500 $25 $500-$1,000 $50 $1,000-$2,000 $100 $2,000-$5,000 $200 $5,000-$10,000 $500 $10,000-$20,000 $1,000 $20,000-$50,000 $2,000 $50,000-$100,000 $5,000 $100,000-$200,000 $10,000 Over $200,000 Auctioneer’s discretion

In-House BiddingLive 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 BiddingIf 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 NoticeLots marked with an asterisk (*) are tax exempt as permitted by law.

Driving Directions/ParkingFrom 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 WisconsinFollow 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 westFollow 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.

lh

Conditions of Sale LESLIE HINDMAN AUCTIONEERS, INC. AS AGENTThe 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 SALEProspective 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 AdmissionLeslie 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 BiddingA prospective buyer must complete and sign a registration form and provide identification before bidding. We may require bank or other financial references.

Bidding as PrincipalWhen 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 BidsWe 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 BidsOn 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 BidsWe 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.

ReservesSome 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 DiscretionThe 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 BidThe 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 PremiumIn 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.

63

H A M M E R P R I C E / B U Y E R ’ S P R E M I U M First Portion from Portion fromBidding Option $0-$200,000 $200,001-500,000 $500,001 and aboveIn-house 22% 20% 12%lesliehindman.com 22% 20% 12%liveauctioneers.com 24% 22% 14%

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

Collecting PurchasesOnce 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 ShippingIf 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 PaymentIf we do not receive payment in full, in good cleared funds, within seven (7) business days following the sale, we are entitled in our absolute discretion to exercise one or more of the following measures, in addition to any additional actions available to us by law:

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

b.) to hold the defaulting buyer liable for the total amount due and to begin legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law

c.) to cancel the sale

d.) to resell the property publicly or privately with such terms as we find appropriate, to resell the property at public auction without reserve, and with the purchaser liable for any deficiency, cost, including handling charges, the expenses of both sales, our commission on both sales at our regular rate, all other charges due hereunder and incidental damages. In addition, a defaulting purchaser will be deemed to have granted us a security interest in, and we may retain as collateral

security for such purchaser’s obligations to us, any property in our possession owned by such purchaser. At our option, payment will not be deemed to have been made in full until we have collected funds represented by checks, or in the case of bank or cashier’s checks, we have confirmed their authenticity.

e.) to offset against any amount owed

f.) to not allow any bids at any upcoming auction by or on behalf of the buyer

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

Failure to Collect PurchasesIf 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.

LIABILITYCondition ReportsLeslie 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 LotsIf 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 RamificationsThe 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.

DiscretionAny 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 | B I D F O R M Telephone Absentee Live Online Fax form to 312.280.1211

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.

name SaLe number/name

buSineSS name

biLLing aDDreSS

City State Country/Zip

ContaCt name

primary pHone SeConDary pHone

emaiL Fax

(US DOLLAR LIMIT)ExCLUDES BUYER’S PREMIUM

FOR TELEPHONE BIDDERS ONLY

LOT NUMBER LOT DESCRIPTION ABSENTEE BID PHONE BID BACK-UP BID (PLEASE CHECK)

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

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

$0-$200 $10$200-$500 $25$500-$1,000 $50$1,000-$2,000 $100$2,000-$5,000 $200$5,000-$10,000 $500$10,000-$20,000 $1,000$20,000-$50,000 $2,000$50,000-$100,000 $5,000$100,000-$200,000 $10,000over $200,000 auctioneer’s discretion

For absentee bids, indicate your limit for each lot. Your bids will be executed at the lowest prices allowed by reserves and 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.

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

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

works by african american artists

Documents

i e h i n d

c h i c

u c t i o n e e r s61

u c t i o nthursday

p r e v

illinois property

earlier works

papersigned clark