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Transcript of 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
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BID LIVE ONLINE
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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)
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L E S L I E H I N D M A N A U C T I O N E E R S8
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)
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L E S L I E H I N D M A N A U C T I O N E E R S10
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
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5Raymond Saunders(American, b. 1934)Untitled (Profile)color lithograph with paper collage28 3/4 x 23 1/4 inches. $800-1,200
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L E S L I E H I N D M A N A U C T I O N E E R S12
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
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L E S L I E H I N D M A N A U C T I O N E E R S14
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)
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L E S L I E H I N D M A N A U C T I O N E E R S16
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)
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L E S L I E H I N D M A N A U C T I O N E E R S18
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
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L E S L I E H I N D M A N A U C T I O N E E R S20
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)
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L E S L I E H I N D M A N A U C T I O N E E R S22
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)
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L E S L I E H I N D M A N A U C T I O N E E R S24
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)
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L E S L I E H I N D M A N A U C T I O N E E R S26
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)
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L E S L I E H I N D M A N A U C T I O N E E R S28
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.”
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FREDERICK D. JONES JR.
(1914-2004)
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L E S L I E H I N D M A N A U C T I O N E E R S30
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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
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L E S L I E H I N D M A N A U C T I O N E E R S32
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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
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32Alvin Carl Hollingsworth(American, 1928-2000)Golden Haired Girl with Birdoil on canvassigned A. Hollingsworth (upper right)36 x 14 inches. $600-800
L E S L I E H I N D M A N A U C T I O N E E R S34
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)
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L E S L I E H I N D M A N A U C T I O N E E R S36
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)
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L E S L I E H I N D M A N A U C T I O N E E R S38
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)
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Works by African American Artists Selling Exhibition
OppositeCheryl WarrickVoices of the Heart (detail), 2000
L E S L I E H I N D M A N A U C T I O N E E R S42
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
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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
L E S L I E H I N D M A N A U C T I O N E E R S44
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
L E S L I E H I N D M A N A U C T I O N E E R S46
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.
L E S L I E H I N D M A N A U C T I O N E E R S48
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
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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
L E S L I E H I N D M A N A U C T I O N E E R S50
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.
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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.
L E S L I E H I N D M A N A U C T I O N E E R S52
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.
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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
L E S L I E H I N D M A N A U C T I O N E E R S54
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.
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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
L E S L I E H I N D M A N A U C T I O N E E R S56
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
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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
L E S L I E H I N D M A N A U C T I O N E E R S58
Auction Artist Index
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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
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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]
Hamilton [email protected]
I.T. Specialist
David [email protected]
EXHIBITIONS ANDINVENTORY CONTROL
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
L E S L I E H I N D M A N A U C T I O N E E R S60
Auction Inquiries (Cont...)Vintage Couture and Accessories
Abigail [email protected]
Casey MondaAccount [email protected]
REGIONAL AUCTION HOUSES
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
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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.
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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.
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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.
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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