Sale 207 Works by African American Artists

lh no.207

Works by African American Artists

Works by African American Artists

lh

Thursday 1 November 2012

PREVIEW SATURDAY 27 OCTOBER | 10AM - 3PM MONDAY 29 OCTOBER | 10AM - 5PM TUESDAY 30 OCTOBER | 10AM - 5PM WEDNESDAY 31 OCTOBER | 10AM - 5PM THURSDAY 1 NOVEMBER | 10AM - 5PM

AUCTION THURSDAY 1 NOVEMBER I 6PM AUCTION, LOTS 1–41

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.

BID LIVE ONLINE

www.lesliehindman.com Cover Lot 27 Radcliffe Bailey 7 Ways (detail), 1993

© Leslie Hindman Auctioneers, Inc. 2012

CHICAGO, ILLINOIS ILLINOIS AUCTIONEERS LICENSE NUMBER 041.0000367

Contents AUCTION 4 ARTIST INDEX 42 GLOSSARY OF TERMS

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AUCTION INQUIRIES 43 CONDITIONS OF SALE 46 TELEPHONE / ABSENTEE BID FORM 48

Opposite Lot 41 Henry Ossawa Tanner Woman from the French West Indies (detail)

Works by African American Artists Lots 1 – 41

Opposite Lot 4 Charles Henry Alston Woman on Bench (detail)

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Dawoud Bey

(American, b. 1953) A Girl in Deli Doorway, Fulton Street, Brooklyn, NY, 1988 gelatin silver print edition AP, signed Dawoud Bey, titled, and dated (verso) 11 3/4 x 9 1/2 inches. $1,500-2,500

DAWO U D B E Y ( b. 1953) Born David Edward Smikle, Bey chose to change his name to Dawoud Bey in the early 1970s. He studied art at the School of Visual Arts in New York, graduated with a BFA in Photography from Empire State College, and acquired his MFA from Yale University School of Art. Over the course of his career, Bey has participated in more than 20 artist residencies.

A product of the 1960s, Bey has stated that he and his work are products of the attitude, “if you’re not part of the solution, you’re part of the problem.” This philosophy has significantly influenced his signature street-style photography and resulted in an artistic method that is innately community-focused. Bey’s earlier photographs, such as A Girl in Deli Doorway, Fulton Street, Brooklyn, NY, ultimately evolved into a five-year project called Harlem, U.S.A., recently exhibited at the Art Institute of Chicago.

Teens and adolescents have become Bey’s signature subject matter. Of this, he has said, “My interest in young people has to do with the fact that they are the arbiters of style in the community; their appearance speaks most strongly of how a community of people defines themselves at a particular historical moment.”

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Joseph Delaney

(American, 1904-1991) Two Nude Figures ink on paper signed Jos. Delaney (lower right) 10 1/2 x 8 1/4 inches. $800-1,200

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Joseph Delaney

(American, 1904-1991) Untitled (Reclining Nude) oil on canvas signed Jos. Delaney (verso) 9 x 32 1/2 inches. $800-1,200

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Charles Henry Alston

(American, 1907-1977) Woman on Bench, c. 1960s oil on canvas signed Alston (lower right) 50 x 40 inches. $20,000-30,000

CH ARLE S H E NRY ALSTO N ( 1907-1 977) Charles Henry “Spinky” Alston was a distinct contributor to the Harlem Renaissance movement.

The keen support and strength seen within this community before, during, and after the Depression was expressed in Alston’s work throughout his career. Known primarily for his murals at the Harlem Hospital and the Golden State Mutual Life Insurance Building, Alston was also the first African American supervisor for the Works Progress Administration’s Federal Art Project.

During the Great Depression, he helped direct the Harlem Art Workshop funded by the Works Progress Administration Federal Art Project.

There he taught and mentored African American painter Jacob Lawrence, as well as Romare Bearden, his younger cousin, amongst many others. Recognizing the lack of African American artists associated with the WPA, Alston aided in the formation of the Harlem Artists Guild which compelled the federal program to be inclusive to all races.

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Charles Henry Alston

(American, 1907-1977) Untitled, c. 1960 oil and mixed media on board signed Alston (lower left) 18 x 23 3/4 inches. $8,000-12,000

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Richard Howard Hunt (American, b. 1935) Untitled lithograph edition 41/50, signed R. Hunt (lower right) 20 x 26 inches. $200-400 7

Richard Howard Hunt

(American, b. 1935) Untitled lithograph edition 43/50, signed Richard Hunt (lower right) 30 x 19 inches. $200-400

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Richard Howard Hunt

Richard Howard Hunt

Richard Howard Hunt

(American, b. 1935) Untitled lithograph edition 6/20, signed Richard Hunt (lower right) 28 1/2 x 23 1/2 inches. $200-400

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LESLIE HINDMAN AUCTIONEERS

(American, b. 1935) Untitled lithograph edition 11/15, signed R. Hunt (lower right) 39 1/2 x 30 inches. $300-500

(American, b. 1935) Winged Figure, 1977 bronze edition 34/50, inscribed R. Hunt and dated Height: 10 inches. $600-800

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Richard Howard Hunt (American, b. 1935) Soaring Spirit bronze inscribed R. Hunt Height: 10 1/4 inches. $2,000-4,000 12

Richard Howard Hunt

(American, b. 1935) Hybrid Form, 1970 steel edition 3/3, inscribed R. Hunt and dated Height: 45 inches. $3,000-5,000

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Ronald Joseph

(American, 1910-1992) Personal manuscript notebook containing 26 original watercolor, pen and pencil sketches [2 tipped in and 21 intext and 1 laid in] and 16 pages of notes pertaining to art and beauty. 8vo, self-titled Seeds to upper cover. S.l., n.d. [c. 1943] $500-700

RO NALD JOS E PH ( 1910-1992) Born in the British West Indies, Ronald Joseph moved to New York City at the age of thirteen.

During the Depression, with the benefit of scholarships, he was educated at the Ethical Culture School, Fieldston School, and Pratt Institute in Brooklyn. Following graduation, he studied printmaking with Riva Helfond in the company of Robert Blackburn at the Harlem Arts Center where he would serve as a teacher later in his life. Joseph worked in the mural section of the WPA and was a representative of the Harlem Artists’ Guild to the New York World’s Fair in 1940.

Joseph enlisted in the U.S. Army Air Corps at the declaration of World War II and was posted as a member of the ground crew at Tuskegee, Alabama and in Michigan. By 1943, prominent art critic James Porter considered him the ‘foremost Negro abstractionist painter’ in New York. After the war he was awarded a Rosenwald Fellowship permitting him to travel and live in Peru. Joseph subsequently used the G.l. Bill to study in Paris at the Grande Chaumière. He resided in Brussels where he continued to produce art until his death.

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Allen Stringfellow

(American, 1923-2004) The Ball, 1998 mixed media collage signed Stringfellow and dated (lower right), titled (lower left) 16 1/4 x 10 inches. $1,000-2,000

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Romare Bearden

(American, 1911-1988) Jazz II color lithograph edition A/P, signed Romare Bearden (lower right) 26 3/4 x 37 1/4 inches. $3,000-5,000

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Romare Bearden

Romare Bearden

(American, 1911-1988) Firebirds, 1979 color lithograph edition 263/300, signed Romare Bearden (lower right) 21 1/2 x 15 inches.

Ref: Gelburd/Rosenberg, 83 $1,000-2,000

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(American, 1911-1988) Noah, the Third Day, Noah’s Ark, (from Prevalence of Ritual) 1974 color screenprint edition P.R. V 73/100, signed Romare Bearden and dated (lower right) 36 x 29 3/4 inches.

Ref: Gelburd/Rosenberg, 55 $2,000-4,000

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Romare Bearden

Romare Bearden

(American, 1911-1988) Susannah and the Elders lithograph edition PRII 73/100, signed Romare Bearden (lower right) 36 x 29 inches. $2,000-4,000

(American, 1911-1988) The Lantern lithograph edition 42/175, signed Romare Bearden (lower right) 23 1/2 x 15 1/4 inches.

Provenance: Merrill Chase Galleries, Chicago, Illinois $1,500-2,500 21

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Beverly Buchanan

(American, b. 1940) Shack foam core and acrylic Height: 12 inches. $1,000-2,000 21

Lois Mailou Jones

(American, 1905-1998) Haitian Market, 1960 watercolor signed Lois M. Jones, Haiti and dated (lower right) 13 x 19 inches. $2,000-4,000 20

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Steve Walker

(American, b. 1945) Girl in Garden, 1983 color silkscreen edition 54/60, signed S. Walker and dated (lower right) 11 1/2 x 7 3/4 inches. $500-700 23

Eugene James Martin

(American, 1938-2005) Untitled, 1983/1997 mixed media collage signed E.J. Martin and dated 1983 (center left); also signed E.J. Martin and dated 1997 (lower right) 13 3/4 x 11 1/4 inches. $400-600

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John Dowell

(American, b. 1941) Sun Dream, 1980 lithograph edition A.P., signed John E. Dowell and dated (lower right), titled (lower left) 24 1/2 X 18 inches. $200-400 25

Bill Hutson

(American, b. 1936) Lancaster Series Study #6, 1990 oil on canvas signed B. Hutson and dated (lower center); signed, titled and dated (verso) 9 x 9 inches. $300-500

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Sam Gilliam

(American, b. 1933) Untitled, 1974 watercolor signed Sam Gilliam and dated (lower right) 37 x 71 1/2 inches. $2,000-4,000

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Radcliffe Bailey

(American, b. 1968) 7 Ways, 1993 mixed media edition 10/10, signed Radcliffe and dated (verso) Height: 24 inches. $5,000-7,000

RADCLIFFE B AILE Y ( b. 1968) Although born in New Jersey, Radcliffe Bailey draws his inspiration from the American South and the city where he was raised and educated, Atlanta, Georgia. His focus on the crossroads of the American South and African Diaspora is evident in his art which displays those themes through his use of found objects, mixed media constructions, and paints. He pays homage to the African American artists who preceded him and recalls a childhood encounter with Jacob Lawrence as an influential moment in his formation as an artist. Bailey’s works include the traditional narratives found in those earlier African American artists’ works, but also incorporate elements drawn from his personal history as well as found objects that continue the same African American narrative. A pivotal moment in his development as an artist, he received a gift of numerous antique family photographs from his grandmother as a young man. As exemplified in 7 Ways, he uses these and other found photographs as a focal point to create his art around. These photos are used to provide a connection for his African American viewers to identify themselves within art and a potential connection to their own heritage.

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Irene Clark

(American, b. 1927) Mask, c. 1950 gouache and pencil on fabric signed I. Clark (lower right) 10 x 13 3/4 inches. $700-900 29

Purvis Young

(American, 1943-2010) Angels and Figures oil on paper signed Young (lower center) 19 1/2 x 25 1/2 inches. $600-800

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Purvis Young

Purvis Young

(American, 1943-2010) Processional oil on board signed Young (upper right) 12 x 12 inches. $400-600

(American, 1943-2010) Dying Angel oil on paper signed Young (lower center) 24 x 19 inches. $600-800

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Charles Sebree

(American, 1914-1985) Untitled (Portrait of a Woman), c. 1961 ink on posterboard signed Sebree (lower left) 25 3/4 x 21 inches.

Provenance: Leroy O. Dorsey, Howard University Professor of Music, Washington, D.C. (gift from the artist) Private collection $1,500-2,500

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Charles Sebree

(American, 1914-1985) Clown Standing gouache signed Sebree (lower center) 3 3/4 x 2 1/4 inches.

Provenance: Leroy O. Dorsey, Howard University Professor of Music, Washington, D.C. (gift from the artist) Private collection $800-1,200

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Margaret Taylor Goss Burroughs

(American, 1917-2010) Reading is Fundamental, 2002 linocut signed M. Burroughs and dated (lower right), titled (lower left) 16 x 20 1/4 inches. $400-600 35

Margaret Taylor Goss Burroughs

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(American, 1917-2010) Birthday Party, 1999 linocut signed M. Burroughs and dated (lower right), titled and inscribed (lower left) 16 x 19 1/4 inches. $500-700

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Charles Porter

(American, 1850-1923) Still Life with Peonies watercolor signed C.E. Porter (lower right) 14 1/2 x 21 inches. $3,000-5,000

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Hale Aspacio Woodruff

(American, 1900-1980) Selections from the Atlanta period (portfolio of eight), c. 1931-46 linocuts, Robert Blackburn’s Printmaking Workshop editions 155/300, each blind stamped ©Hale Woodruff (lower right) Largest: 12 x 9 inches. $4,000-6,000

H ALE AS PACIO WO O DRU FF ( 1900-1980) Known for his paintings, prints and murals, Hale Aspacio Woodruff was born in Cairo, Illinois and studied at the John Herron Art Institute of Indianapolis, Indiana followed by four years of study in France during the late 1920s. His early work exhibits threads of a dialogue with the ideas of abstraction and cubism he encountered while there. Woodruff’s artistic expression later matured into a regional vernacular of Georgia inspired by his study with Diego Rivera and the concurrently developing dialogues of the Mexican muralist tradition. The themes of his mural cycles for Talladega College, Clark Atlanta University Art Galleries, and Golden State Mutual Life Insurance Company developed a visual narrative for the rural life experience and history of African Americans. Woodruff was an instrumental founding member of Atlanta University’s art program, where he was a member of the faculty for fifteen years and developed the Atlanta University Art Annuals, an art exhibition for African American artists that ran for 29 years, from 1942 to 1970. He went on to teach at New York University until his retirement in 1968.

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Elizabeth Catlett

(American, 1915-2012) Survivor, 1983 linocut edition 723/1000, signed E. Catlett and dated (lower right), titled (lower left) 9 1/4 x 7 1/2 inches. $1,500-2,500

E LIZ AB E T H CAT LE T T ( 1915-2012) A renowned sculptor, printmaker, and women’s advocate, Elizabeth Catlett’s work pays homage to the enduring courage of working-class women with tender dignity and grace. Through economy of line and elegant simplicity, Catlett’s works convey a deep understanding of the human experience. Born in Washington, D.C., Catlett studied at Howard University and was the first student to earn an MFA in sculpture at the University of Iowa School of Art and Art History, where she was encouraged by Grant Wood to work with the subjects she knew best. In the 1940s, Catlett studied ceramics at the Art Institute of Chicago and lithography at the Art Students League of New York. An advocate for African American and Mexican women, Catlett devoted much of her life and work to improving the lives of these groups, activism which led to her arrest and eventually forced her to relocate to Mexico in exile from the United States. In Mexico, Catlett studied with Jose L. Ruiz and Francisco Zúñiga.

She later returned to Mexico, married and became a Mexican citizen where she played an important role at the National Autonomous University of Mexico, Mexico City, as the first female professor of sculpture and head of the department before retiring to Cuernavaca in 1975.

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Richmond Barthe

AU G U STA SAVAG E ( 1900-1962)

(American, 1901-1989) Black Madonna, 1961 painted terra cotta inscribed Barthe Height: 5 1/2 inches on a 2 1/2 inch wood base. $5,000-7,000

From a young age, Augusta Savage showed

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to pursue her passion which ultimately led her

Augusta Savage

(American, 1900-1962) Gamin plaster with painted bronze patina inscribed Savage and titled Height: 9 inches. $12,000-18,000

a passion for creating art. As a child in Green Cove Springs, Florida, she would find clay in her neighborhood that she could use to create her small animals and other figures. Despite the disapproval of her minister father, she continued to New York City in the 1920s. In New York, she began to develop a talent for portrait sculpture.

Creating portraits for such prominent figures as W.E.B. DuBois and Marcus Garvey, she established herself as a key figure of the Harlem Renaissance movement. Gamin, one of her most important works, uses a portrait bust to cast a young boy from Harlem with the dignity and refinement usually reserved for men of higher social stature. With fewer commissions coming in during the Great Depression, Savage opened the Savage Studio of Arts and Crafts. In this incarnation as a teacher, she had the opportunity to mentor and teach the newly burgeoning artistic talents of Harlem, including Jacob Lawrence and Norman Lewis. During this period she also began an involvement with the Works Progress Administration, lobbying for African American artists to have the same opportunities to create art for WPA funded projects. Despite leaving New York City in 1940 and spending the majority of her subsequent career teaching, Savage remains a key figure of the Harlem Renaissance and in the formation of many important African American artists of her time.

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Henry Ossawa Tanner

(American, 1859-1937) Woman from the French West Indies, c. 1891 oil on canvas mounted on board 18 x 15 inches.

Property from a Private Collection Provenance: Alexander Kononchuk, Ambler, PA Acquired by the present owner from the above, 2009 Dr. Dewey F. Mosby, Director Emeritus of the Picker Art Gallery at Colgate University and author of Across Continents and Cultures: The Art and Life of Henry Ossawa Tanner has written the following essay in reference to this work.

The attribution of this strong and unusual portrait-like painting to Henry O. Tanner is supported by similarities in artistic handling to other Tanner works executed around 1891 to 1893. The artist arrived in Paris, France at this time and spent the summers on the west coast in Brittany. There, he adopted a predominately green palette with an emphasis on vertical brushstrokes as can be seen in the Woman from the French West Indies and is echoed in the signed and dated Horse and Two Dogs in a Landscape (see Mosby, Tanner, pp. 102-103). Then, the tans that creep into the background of the woman’s head are similar to the latter picture as well as those found in the 1891 landscape from Brittany, Carcaneau (Ibid., pp. 104-105).

Even more convincing are the multiple light sources which will be characteristic of Tanner’s approach during the whole of his career, including the famous Banjo Lesson. For example, a dominant light comes from the left and creates a sharp contrast with the shadows on the right side of the face and neck. Yet another light source emanates from the lower left, catching a few beads of the necklace and bringing the underside of the coral-like bonnet into glow. Finally, the right background has its own source of light which helps to animate the entire composition and add life to the sultry head of the mulatto model.

It should be mentioned in passing that the slight tilt of the head and eyes contrasted with the angle of the shoulders attest to the compositional principles that Tanner learned at art schools in Philadelphia and Paris (cf., Mosby, passim). In spite of the intricacies of light and compositional devices, a sense of calm dignity pervades the picture.

The present painting of a woman of color is a welcome addition to Tanner’s oeuvre because he has a meager body of images of Black women. Indeed, we know the famous Portrait of the Artist’s Mother (Philadelphia Museum of Art) and the lesser-known Portrait of Sister Sarah (see Mosby, Across Continents, p.

17). Our portrait does not seem to represent a Tanner family member which can be determined by a comparison of the visages in the Tanner Family Portrait of c. 1890 (see Mosby, Tanner, p.22). Instead, we are looking at an image of a lightskinned woman from one of the islands of the French West Indies-Martinique, Guadeloupe or Dominica. This claim is supported by her costume and headdress.

We learn about them in one of the principal figures of an 18th-century Scene With Dancing by Agostino Brunias (1730-1796) who made paintings and prints throughout the Caribbean during his lifetime (see Honychurch, passim and Honour, p. 33, fig. 3). Thus, no claim is made here that Tanner traveled to the French Caribbean islands because he did not do so.

The above-mentioned picture by Brunias sheds additional light on our painting.

She is not an ordinary Black subject. She is not an ordinary Black Caribbean island woman with a kerchief headdress or bare bosoms as seen in so many European paintings and prints. Tanner’s model wears a fancily-designed bonnet that crowns her head like a halo and a sparkling pearl-like necklace. In other words, this haughty young woman is not a peasant.

It is not possible to specifically identify our subject as a woman from either Martinique, Guadeloupe or Dominica because our primary source, Brunias, as chronicled by Lennox Honychurch (passim), often conflated Martinique and Dominica. But why did the African American Tanner choose this subject area? We know that France held a long tradition and special relationship with Martinique, beginning especially with the beautiful Maria Josepha Rose Tacher de la Pazarie (1763-1814), better known as Empress Josephine Bonaparte (cf., C. Erickson, passim). This fascination continued into the 20th century with the pre-eminent thinker from Martinique, Fantz Fanon (1925-1961). Perhaps even more relevant for the present study is the fact that during Tanner’s formative years in Brittany, 1891-1893, the legendary Paul Gauguin was there. Gauguin traveled to Martinique in 1889 and made several paintings and prints based on the area. Henry O. Tanner was influenced by Gauguin and his circle (see Mosby, Across Continents, passim).

These circumstantial situations, along with his own racial awareness, would have prompted the artist to want to paint a portrait of a woman from the French West Indies. Unfortunately, secondary sources do not reveal census data about people of color in Brittany during the late 19th century-they were simply listed as French.

Another issue that deserves special attention is the unpainted border of Woman from the French West Indies. We learn from the Dr. Carl Grimm [Chief Conservator for Paintings at the De Young Museum and the Fine Arts Museum of San Francisco] “Condition Report”: Pin holes at all four corners indicate that it was painted on a piece of unstretched canvas while it was primed or tacked to a board or some other working support. That the design is held back from the edges is consistent with this scenario.

Also consistent with this scenario is Tanner’s so-called Marshes in New Jersey (National Museum of American Art, acc. No. 1984.149.3). Indeed, an inscription under the mat on the lower left places this picture in Paris and dates it in 1895.

The subject seems to be an Eiffel Tower-shaped buoy of the type located near Quai d’Issy on the Seine River. More important for the present discussion, the Marshes design is held back from the edges-especially noticeable on the bottom of the attached photograph. Then, like the West Indian Woman, it is mounted on board and has pin holes on all four corners. As an aside, the vertical pastel brushstrokes in the bottom level of Marshes echo the handling in the present oil.

Finally, a work of art finds additional life through influence. It is difficult to think that Tanner’s Philadelphia “Homeboy,” Julius Bloch (1888-1966) did not have in mind Woman from the French West Indies when he painted The Man with the Blue Sweater in The Picker Art Gallery at Colgate University. $20,000-30,000

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Auction Artist Index

Glossary of Terms

Alston, Charles Henry

4, 5

Bailey, Radcliffe

27

Barthe, Richmond

39

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

Bearden, Romare

15-19

Bey, Dawoud

1

Buchanan, Beverly

20

Burroughs, Margaret Taylor Goss

34, 35

Catlett, Elizabeth

38

Clark, Irene

28

Delaney, Joseph

2, 3

Dowell, John

24

Gilliam, Sam

26

Hunt, Richard Howard

6-12

Hutson, Bill

25

Jones, Lois Mailou

21

Joseph, Ronald

13

Martin, Eugene James

23

Porter, Charles

36

Savage, Augusta

40

Sebree, Charles

32, 33

Stringfellow, Allen

14

Tanner, Henry Ossawa

41

Walker, Steve

22

Woodruff, Hale Aspacio

37

Young, Purvis

29-31

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LESLIE HINDMAN AUCTIONEERS

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

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

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

STYLE OF . . . FOLLOWER OF ADRIAEN JANSZ VAN OSTADE To our best judgment, a work by a painter emulating the 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.

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Lauren K. Ross laurenross@lesliehindman.com 312.334.4202

Jamie Henderson Account Executive jamiehenderson@lesliehindman.com 312.334.4226

Gia Spezia gia@lesliehindman.com 312.334.4219

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Auction Inquiries (Cont...)

Vintage Couture and Accessories

REGIONAL OFFICES

Casey Monda Director caseymonda@lesliehindman.com 312.334.4232

Palm Beach

REGIONAL AUCTION HOUSES Jim Sharp Director jim@lesliehindman.com 312.334.4203 Corey Cripe Account Executive coreycripe@lesliehindman.com 312.447.3289 Bonnie O’Donoghue Account Executive bonnieodonoghue@lesliehindman.com 312.447.3293

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

324 Royal Palm Way Palm Beach, Florida 33480 561.833.8053

Regional Representatives Rockford, Illinois Janet Moore 815.399.3983 Mid Atlantic Roger Schrenk and Chris Fultz 703.528.1397 Ohio Macy Nyhart Hansen 513.560.3200

International Representative Tina Fisher Grow 561.315.9100

Denver 960 Cherokee Street Denver, Colorado 80204 303.825.1855

Milwaukee 414 East Mason Street Milwaukee, Wisconsin 53202 414.220.9200

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 Rates Our standard rate of commission is equal to ten percent (10%) of the hammer price on each lot sold for $5,001 or more; fifteen percent (15%) of the hammer price on each lot sold for $2,001 or more but less than $5,001; and twenty-five percent (25%) of the hammer price on each lot sold for $2000 and less with a minimum commission of $25 per lot sold. If your property fails to reach the reserve price agreed upon between you and Leslie Hindman Auctioneers, Inc., you may be obligated to pay a reduced commission rate of five percent (5%) of the reserve price.

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

Appraisals Appraisals can be arranged for insurance, donation, estate tax, family division or other purposes. Appraisal fees vary according to circumstances. Please contact our Estates and Appraisals Department at 312.280.1212 for further information.

Guide for Prospective Buyers Conditions of Sale Leslie Hindman Auctioneers, Inc. encourages all prospective buyers to read the Conditions of Sale printed in this catalogue.

Exhibitions Leslie Hindman Auctioneers, Inc. recommends that all prospective buyers attend the pre-sale exhibition prior to the auction. Staff members are available at our pre-sale exhibitions to advise prospective buyers on particular objects or on any aspect of the bidding process.

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

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LESLIE HINDMAN AUCTIONEERS

Driving Directions/Parking

Bidding at Auction The highest bidder acknowledged by the auctioneer will be the purchaser.

In addition to the hammer price, the buyer agrees to pay Leslie Hindman Auctioneers, Inc. a buyer’s premium as well as any applicable taxes.

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

The normal bidding increments are: $0-$200 $10 $200-$500 $25 $500-$1,000 $50 $1,000-$2,000 $100 $2,000-$5,000 $200 $5,000-$10,000 $500 $10,000-$20,000 $1,000 $20,000-$50,000 $2,000 $50,000-$100,000 $5,000 $100,000-$200,000 $10,000 Over $200,000 Auctioneer’s discretion

In-House Bidding Live bidding at Leslie Hindman Auctioneers, Inc. is by paddle only. Please register for a paddle at the entrance of the sales room. If you are the successful bidder, your paddle number and the hammer price will be announced by the auctioneer.

Online Bidding Leslie Hindman Auctioneers, Inc. allows absentee and live bidding through our website at www.lesliehindman.com as well as absentee and live bidding through third party online bidding providers which vary by sale. For more information regarding online bidding please visit our website at www.lesliehindman.com.

Absentee Bidding If you are unable to attend an auction, you may use the absentee bid form provided at the back of this catalogue. Leslie Hindman Auctioneers, Inc. will exercise written order bids and telephone bids at no additional charge. Lots will always be sold as inexpensively as is allowed other bids and reserves as are on our books or bids executed in competition from the audience.

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

From the WEST: Take I-290 east. Take the Paulina Street/Ashland Boulevard exit 28B. Stay straight to go onto West Congress Parkway. Turn left onto South Paulina Street. Take a slight right onto West Ogden Avenue. Turn right onto West Lake Street. Building will be on the left side at 1338 West Lake Street.

From the NORTH/NORTHWEST: Take I-90/I-94 east toward Chicago. Take the Ogden Avenue exit 50A. Stay straight to go onto North Racine Avenue. Turn right onto West Lake Street.

Building will be on the right side at 1338 West Lake Street.

From the SOUTHWEST: Take I-55 north. Exit 292A I-90/I-94 W Wisconsin Follow I-90/I-94 W Wisconsin to the Lake Street exit 51A. Turn left onto West Lake Street. Building will be on the right side at 1338 West Lake Street.

From the SOUTH/SOUTHEAST: Take I-90/I-94 west Follow I-90/I-94 W via the exit on the left toward Chicago Loop. Take the Lake Street exit 51A and turn left onto West Lake Street. Building will be on the right side at 1338 West Lake Street.

Parking: Leslie Hindman Auctioneers, Inc. has a private parking lot located on Ada Street, diagonally across the steet from our entrance.

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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.

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

BEFORE THE SALE Prospective buyers are strongly advised to personally examine any property in which they are interested before the auction takes place. Condition reports are usually available on request, on lots with a low estimate of $300 and above.

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

AT THE SALE Refusal of Admission Leslie Hindman Auctioneers, Inc. has the right, at our complete discretion, to refuse admission to the premises or participation in any auction and to reject any bid.

Registration before Bidding A prospective buyer must complete and sign a registration form and provide identification before bidding. We may require bank or other financial references.

Bidding as Principal When making a bid, a bidder is accepting personal liability to pay the purchase price, including the buyer’s premium, all applicable taxes and all other applicable charges, unless it has been explicitly agreed upon in writing with Leslie Hindman Auctioneers, Inc. before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Leslie Hindman Auctioneers, Inc., and that Leslie Hindman Auctioneers, Inc. will only look to the principal for payment.

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LESLIE HINDMAN AUCTIONEERS

Absentee Bids We will use reasonable efforts to carry out written bids given to us at least 24 hours prior to the sale for the convenience of clients who are not present at the auction in person, by an agent or by telephone. Bids must be placed in U.S. dollars. If we receive written bids on a particular lot for identical amounts, and these are the highest bids on the lot at the auction, it will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors and omissions in connection with the written bid.

Telephone Bids On lots with a low estimate of $300 and above and if a prospective buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in the bidding by telephone and we do not accept liability for failure to do so or for errors and omissions in connection with telephone bidding. These telephone bids may be recorded at the discretion of Leslie Hindman Auctioneers.

Online Bids We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the Internet or software malfunctions related to the execution of online bids.

Reserves Some lots in the sale are subject to a reserve which is the confidential minimum price below which such lot will not be sold. The reserve will not exceed the low estimate of the lot. Reserves are agreed upon with consignors or, in the absence thereof, the absolute discretion of Leslie Hindman Auctioneers, Inc. The auctioneer may open the bidding on any lot below the reserve by placing a bid on behalf of the seller. The auctioneer may continue to bid on behalf of the seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders. With respect to lots that are offered without reserve, unless there are already competing bids, the auctioneer, in his or her discretion, will generally open the bidding at half of the low estimate for the lot.

In the absence of a bid at that level, the auctioneer may proceed backwards at his or her discretion until a bid is recognized, and then continue up from that amount.

Auctioneer’s Discretion The auctioneer has the right at his or her absolute and sole discretion to refuse any bid, to advance the bidding in such a manner as he or she may decide, to withdraw any lot, and in the case of error or dispute, and whether during or after the sale, to determine the successful bidder, to continue the bidding, to cancel the sale or to reoffer and resell the item in dispute. If any dispute arises after the sale, our sale record is conclusive.

Successful Bid The highest bidder acknowledged by the auctioneer will be the purchaser.

In the case of a tie bid, the winning bidder will determined by the auctioneer at his or her sole discretion. In the event of a dispute between bidders, the auctioneer has final discretion to determine the successful bidder or to reoffer the lot in dispute. If any dispute arises after the sale, the Leslie Hindman Auctioneers, Inc. sale record shall be conclusive. Title passes upon the fall of the auctioneer’s hammer to the highest acknowledged bidder subject to the Conditions of Sale set forth herein, and the bidder assumes full risk and responsibility.

AFTER THE SALE Buyer’s Premium In addition to the hammer price, the buyer agrees to pay Leslie Hindman Auctioneers, Inc. a buyer’s premium and the applicable sales tax added to the final total. The buyer’s premium for all purchases is twenty-five percent (25%) of the hammer price up to and including $50,000; twenty percent (20%) of any amount in excess of $50,000 up to and including $1,000,000; and twelve percent (12%) of any amount in excess of $1,000,000.

Payment The buyer must pay the entire amount due (including the hammer price, buyer’s premium, all applicable taxes and other charges) no later than 5 p.m. on the seventh (7) business day following the sale. Payment in U.S. dollars may be made with cash; bank check or cashier’s check drawn on a U.S. bank; money order; or wire transfer unless other arrangements are made with Leslie Hindman Auctioneers, Inc. Leslie Hindman Auctioneers, Inc. reserves the right to hold merchandise purchased by personal check until the check has cleared the bank.

The purchaser agrees to pay Leslie Hindman Auctioneers, Inc. a handling charge of $50 for any check dishonored by the drawee.

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

Collecting Purchases Once Leslie Hindman Auctioneers, Inc. has received all funds due to us, the buyer shall collect purchased lots within seven (7) business days from the date of the sale.

Packing and Shipping If your bid is successful, we can provide you with a list of shippers. We will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. Property will not be released to the shipper without the buyer’s written consent and until payment has been made in full. Packing and handling of purchased lots by us is at the entire risk of the purchaser, and Leslie Hindman Auctioneers, Inc. will have no liability of any loss or damage to such items.

Non Payment If we do not receive payment in full, in good cleared funds, within seven (7) business days following the sale, we are entitled in our absolute discretion to exercise one or more of the following measures, in addition to any additional actions available to us by law: a.) to impose a late charge of one and a half percent (1.5%) per thirty (30) days of the total purchase price b.) to hold the defaulting buyer liable for the total amount due and to begin legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law c.) to cancel the sale d.) to resell the property publicly or privately with such terms as we find appropriate, to resell the property at public auction without reserve, and with the purchaser liable for any deficiency, cost, including handling charges, the expenses of both sales, our commission on both sales at our regular rate, all other charges due hereunder and incidental damages. In addition, a defaulting purchaser will be

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

LIABILITY Condition Reports Leslie Hindman Auctioneers, Inc. is not responsible for the correctness of any statement of any kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lot. Neither the seller, ourselves, our officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind whatsoever is excluded by this paragraph.

Purchased Lots If for any reason a purchased lot cannot be delivered in the same condition as at the time of sale, or should any purchased lot be stolen, mis-delivered or lost prior to delivery, Leslie Hindman Auctioneers, Inc. shall not be liable for any amount in excess of that paid by the purchaser.

Legal Ramifications The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the auction and any matters connected with any of the foregoing shall be governed and interpreted by the laws of the jurisdiction in Illinois. If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

Discretion Any and all of the conditions may be waived or modified in the sole discretion of Leslie Hindman Auctioneers, Inc.

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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 | BID FORM 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 below $300. Leslie Hindman Auctioneers, Inc. allows absentee and telephone bidding registration through our website at 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:

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$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

Name Sale Number/Name

Business Name

Billing Address

City State Country/Zip

Contact Name

For absentee bids, indicate your limit for each lot.

Your bids will be executed at the lowest prices allowed by reserves and competing bids. If we receive more than one bid of the same value, the first one received will take precedence.

Primary Phone Secondary Phone

Email Fax

A per lot buyer’s premium is added to the final hammer price as per the following:

Signature Date For Leslie Hindman AUCTIONEERS, INC.

BID LIVE ONLINE

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.

$0 - $50,000 $50,001 - $1,000,000 $1,000,001+

25% 20% 12%

Leslie Hindman Auctioneers, Inc. is not responsible for failure or other inadvertent errors relating to the execution of your bids.

First time bidders please provide proof of identification: Passport/Driver’s License/National Identity Card

Lot Number

LOT Description

Absentee Bid

(US Dollar Limit)

PHONE BID

(PLEASE CHECK)

EXCLUDES BUYER’S PREMIUM

1338 West Lake Street Chicago, Illinois 60607

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ph 312.280.1212

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fx 312.280.1211

l bid@lesliehindman.com

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Back-up BId FOR TELEPHONE BIDDERS ONLY

lesliehindman.com

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

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