The Scott Sanders Collection of Art by Charles Sebree (1914-1985) by BLACK ART AUCTION

The Scott Sanders Collection of Art by Charles Sebree (1914-1985)

Scott Sanders. Photo Credit: Singer, Courtney. Digital Image. Shadow and Act: On Cinema of the African Diaspora. June 28, 2012. www.blogs.indiewire.com

Charles Sebree’s illustrious career as a painter, writer, costume designer and dancer spanned seven decades. He overcame great obstacles as a poor, gay African American artist competing for the attention of a narrow audience made up of wealthy white socialites and conservative museums and institutions in the mid 20th century. His work was innovative in terms of subject and medium. The Scott Sander’s Collection is the most comprehensive collection of the artist’s work to ever be offered for sale. Scott Sanders and his family enjoyed a close personal relationship to Charles Sebree. “He was like a surrogate grandfather to me, and my father had a particularly close relationship to him.” Scott’s father, John Thomas Sanders, was an employee of IBM, and owned and operated a very popular barbecue pit called “Scott’s BBQ” in Washington, D.C. Scott’s BBQ was a favorite among local politicians, including Thurgood Marshall and Walter Mondale. Scott was born in Elizabeth City, North Carolina, and raised in Washington, D.C. He attended the highly selective Sidwell Friends School in Bethesda, Maryland and graduated from the University of North Carolina at Chapel Hill in 1991. His mother, Estelle “Bunny” Sanders was the longtime mayor of Roper, North Carolina, and her father (Scott’s maternal grandfather), E.V. Wilkins, was the first black mayor of Roper. Scott majored in Radio, TV, and Motion Pictures, and moved to Los Angeles, where he now works as a writer and director. Scott’s directorial debut came in 1998, with the HBO film, Thick as Thieves, starring Alec Baldwin and Michael Jai White. Sanders co-wrote and directed the film, Black Dynamite , which premiered at the Sundance Film Festival in 2009. His most recent project is a film titled Aztec Warrior, which he directed.

Charles Sebree ( 1 9 1 4 - 1 9 8 5)

Charles Sebree was born November 16, 1914 in White City, Kentucky. Young Charles had an early interest in painting and art, which was developed by an uncle whose hobbies were painting and cartooning. “Robinson tutored Charles in drawing by having him sketch pictures with a stick in the soil and taught him how to make little figures of men out of mud and twigs.” 1 At the age of ten, he and his mother moved north to Chicago. Sebree attended Burke Elementary School, near Washington Park on the south side of Chicago. A teacher noticed some of his drawings and decided to take one to the Renaissance Society of the University of Chicago. His drawing, Seated Boy, was featured on the cover of their magazine, and Sebree was paid $25. By age 14, he was living on his own, carving out a rough existence on the streets of Chicago during the Great Depression. He survived by being a hustler and running numbers. He managed to graduate from Englewood High School in 1932, a year before Charles White began there. Other notable artists who attended Englewood High School were Archibald Motley Jr., Eldzier Cortor, and Margaret Burroughs. 1 Melvin Marshall and Blake Kimbrough, “Above and Beyond Category: The Life and Art of Charles Sebree,” The International Review of African American Art 18, no. 3, 2002, 2-17.

After graduating Englewood, Sebree enrolled at the Institute of Design in Chicago (also known as the “New Bauhaus”). This was a significant early influence on the young artist because the school, founded by Lázló Moholy-Nagy in the Bauhaus tradition, encouraged a relationship between art disciplines and this became a central theme in Sebree’s career: connecting visual art, literature, and performance art. He also sat in on classes at the Art Institute of Chicago, with younger classmates, Cortor and White. In 1933, Sebree met Katherine Dunham, an anthropology student at the University of Chicago. Dunham was operating a dance studio in a stable loft on the South side to finance her studies. She formed the Cube Theater Club and Sebree joined. The club members would attend various shows which came into town and entertain the visiting artists afterward. The Cube group was intellectually, artistically, and culturally progressive; it was one of the few art clubs in which both whites and blacks participated. It was here that Sebree met Langston Hughes, an original member of the Cube. Dunham’s style of dance introduced an African and Caribbean aesthetic to modern dance. Similarly, Sebree blended these influences with the style of painting typically associated with the European modern masters. He spent time as a dancer in Dunham’s company and learned the art of costume design from Dunham’s husband, John Pratt. Pratt designed costumes for Dunham throughout her career and was a painter himself. In 1933, Sebree was invited by Ruth Page, ballet director for the Chicago Opera Company, to dance in the production of La Guiablesse which was to be presented in conjunction with the Century of Progress. Katherine Dunham had also been selected for a supporting role, but when Ruth Page was unable to serve as prima ballerina, Dunham took over her role. La Guiablesse was based on a Martinique folk tale of a she-devil who lures a young man to his destruction. Eva Watson-Schütze, photographer, artist, and Director of the Renaissance Society at the University of Chicago, after hearing of Sebree’s work, invited

him to exhibit there in the mid-1930s. His works continued to be exhibited there when Inez Cunningham Clark took over directorship in 1936.1 William McKnight Farrow, the first African American instructor at the Art Institute of Chicago and a senior member of the black artists collective, the Chicago Art League, “met Sebree at the 1934 Grant Park outdoor art fair and reported that his work ‘caused considerable controversy among the artists there as well as among the visitors…He possesses a peculiar talent for producing work of an emotional quality and strange as it seemed to those of academic training, he sold everything he took there for display’.” 2 Sebree applied for a Rosenwald grant in 1935, but was denied; he was later awarded one in 1945 to paint a series of twenty illustrations for the poems of American Negro poets. Sebree had executed several illustrations for a poem written in 1936 by John Rood, titled This, My Brother. A painting of the same title, done by Charles White in 1942, is in the collection of the Art Institute of Chicago. Sebree’s success and vision was not formed solely by his relationships within the black artistic community. He was equally influenced by the white progressive art scene in Chicago. Between 1936 and 1938, Sebree worked for the New Deal’s Works Progress Administration in the easel painting division. He also met Chicago bohemian painter, Gertrude Abercrombie around this time, exhibiting together at the Katherine Kuh Gallery. Kuh was a leading proponent of modern art in Chicago in the late 1930s, and Sebree was the only African American artist represented by her. Abercrombie entertained a widely diverse and interracial group of artists at her home in Hyde Park. Jazz musicians Charlie Parker and Dizzy Gillespie were regulars, as well as playwright Thornton Wilder and 1 Robert Bone and Richard A. Courage, “The Documentary Eye” in The Muse in Bronzeville: African American Creative Expression in Chicago, 1932-1950 (New Jersey: Rutgers University Press, 2011), 157. 2 William McKnight Farrow, Letter to Evelyn S. Brown, 15 Apr 1935, Harmon Foundation Papers, Manuscript Division, Library of Congress (Washington, D.C.), in A Force for Change: African American Art and the Julius Rosenwald Fund, ed. Daniel Schulman (Evanston, IL: Northwestern University Press, 2009),118. 8

philosopher, Alain Locke. It was through Wilder that both Sebree and Abercrombie met Gertrude Stein. Sebree shared his friend Locke’s philosophical notion of “cultural pluralism”, which Locke defined as embracing one’s own culture while participating fully in society as a whole.1 In an exhibition at the Kuh Gallery in March of 1940, Sebree’s work hung alongside the European modernists, Leger, Picasso, Matisse, and Modigliani. In an article written by Willard Motley (Archibald Motley, Jr.’s brother) in 1940, Sebree was described as a “problem child” because his “star rose early”. Motley said Sebree was “an escapist” and “disillusioned”. Sebree told him he wanted to sell all of his paintings and go to New York, because he was tired of Chicago.2 In an essay titled, Chicago’s African American Visual Arts Renaissance, Murry N. DePillars discusses how, while Sebree’s art reflected certain influences, he was not an imitator. DePillars names Byzantine art, African art, Picasso, and Rouault as Sebree’s main influences.3 1 Thom Pegg, Parkway Collection of Important 20th Century African American Works of Art (Kansas City: Parkway Galleries LTD), 2010, 29. 2 Willard F. Motley, “Negro Art in Chicago,” Opportunity 18, no. 1 (January 1940): 19, 29-31. 3 Murry N. DePillars, “Chicago’s African American Visual Arts Renaissance,” in The Black Chicago Renaissance, ed. Darlene Clark Hine and John McCluskey Jr. (Champaign, IL: University of Illinois Press, 2012), 187-188.

Byzantine mosaic Basilica of San Vitale, Ravenna, Italy

Catalog p. 41

Detail of Picasso’s Clown and Monkey c. 1910

Catalog p. 47

Georges Rouault Pierrot

Catalog p. 39

Paul Klee Death and Fire

Catalog p. 50

The artist and scholar, James Porter, said this of Sebree’s work: (it was) “conceived in a mood of contemplation and recall(ing)…Russian icon painting.”1 Byzantine art (example p. 7) was characterized by a shift from the naturalistic character of classicism toward an “abstracted” depiction of the figure. The influence of Georges Rouault’s work on Sebree is clearly evident, not only in imagery, but in philosophy and approach. Both painters focused on human nature and their subjects, depicted in stark contrast, were spontaneous and communicated a high degree of emotionality. Similarly to Paul Klee, Sebree experimented with many, and sometimes unconventional, mediums. Klee experimented with Expressionism, Cubism and Surrealism and his figurative subjects appeared fragile and child-like. Sebree’s subjects, vulnerable and reflective, invited the viewer to look deeper. The works are intentionally devoid of activity so that it would not pose a distraction to the humanity of the subject. Sebree’s subjects, similarly to Picasso’s (example p. 7), expressed a familiarity to the artist. Regardless if the subject were only a model or even a fictitious character, they were rendered as if they were someone known to the artist. Rouault went so far to say, “”A tree against the sky possesses the same interest, the same character, the same expression as the figure of a human.” 1 James A. Porter, “The New Horizons of Painting,” in Modern Negro Art (New York: Dryden Press, 1943) (New York: Arno Press, 1969), 122. 10

Sebree worked in various mediums early on, including oil and egg tempera. He soon discovered that oils were too toxic for him and caused a negative physical reaction, so he made a permanent switch to egg tempera and water-based paints, such as gouache and watercolor. He also executed large canvases earlier in his career (1930s-40s), but by the 1950s, when he was living in Washington, D.C., he was painting on his kitchen table and literally did not have the space to make large format works. 1 1 Ted Shine, “Charles Sebree Modernist,” Black American Literature Forum 19, no. 1 (Spring 1985): pages 6-8.

African wood carving

Catalog p. 36

Sebree noted that he was influenced by primitive African art (as was Picasso). The attraction to primitivism was its spontaneity, honesty, and emotionally-charged symbols. Many artists adopted primitivism as a reaction against seemingly corrupt society or specifically, the art academies.

Two Figures in an Alleyway, c. 1938; oil on masonite, 20” x 24”

This work by Sebree is an example of the larger works he executed in oil early in his career.

Sebree’s most well-known paintings were The Rescue of Dorie Miller1 and Boys Without Penises.2 Sebree and his friend, Owen Dodson, were in the Navy and stationed at the segregated Camp Smalls, in northern Illinois. The two of them wrote and performed a play, The Ballad of Dorie Miller , for their fellow enlistees. The news of the heroism of an African American sailor named Doris “Dorie” Miller during an attack on Pearl Harbor (December 7, 1941) had reached them and they were inspired. Black service men had been traditionally restricted to roles such as cooks and menial laborers on ships, but Miller left his position in the kitchen when the attack began, and rescued his (white) commanding officer, who had been mortally wounded, and then proceeded to man an anti-aircraft gun, firing at Japanese planes overhead. In 1942, Miller was awarded the Navy Cross by Chester Nimitz. Eventually, Miller was promoted to Chief Petty Officer, Ship’s Cook Third Class, and was aboard the aircraft carrier, Liscome Bay, in November of 1943, when it was struck by a torpedo and sank, killing 600 of its crew members, including Miller. 1 Charles Sebree, The Rescue of Dory Miller, gouache, ink and pencil mounted on paper, in “Charles Sebree’s ‘Boys Without Penises’, A Hermetic Self-Portrait?,” by Tony Finch, in The International Review of African American Art 18, no.3, 2002, 21. 2 Charles Sebree, Boys Without Penises, gouache on composite board, ibid, 18.

The Rescue of Dorie Miller 1942 gouache, ink, and pencil mounted on paper 6-1/2” x 5-1/8” Collection of Corcoran Gallery of Art

Boys Without Penises 1943 gouache on composite board 7-7/8” x 9-7/8” Private collection

Boys Without Penises depicts three young African American boys: Miller, Owen Dodsen, and Sebree. Sebree’s artwork had both elements of revealing and concealing. The artist found himself the subject of discrimination as an African American and as a gay man. Miller’s figure is separated from the other two figures, but in contrast to the heroic figure depicted in the news stories, he appears distant and passive. Sebree portrayed Miller in this way to symbolize the impotence of the black soldier. In spite of his heroics, he was denied the freedoms for which he fought to protect: he was poor and uneducated, and ultimately had little future waiting for him after the war.

In 1947, Sebree went to Washington, D.C. to do set design and costumes for a play being produced at Howard University, and decided to remain there. He began painting immediately and found buyers very quickly. His method changed somewhat in the 1950s. His palette became more colorful, he started using ink and wiping it off to create negative spaces in his compositions. He also began using casein on textured paper. These materials lent themselves nicely to his new small-scale format. In the mid-1950s, Sebree devoted considerable energy to theatrical work. His play, Mrs. Patterson, ran off broadway from 1954-1955 and starred Eartha Kitt. In the 1960s, Sebree participated in a writer’s group with the Howard University faculty, and was called upon to critique Toni Morrison’s, The Bluest Eye . Of Sebree, Morrison said, “he was the first person that made me think I could be a writer.”1 Sebree continued to use egg tempera, but introduced crayons and beeswax to his preferred media choices. He worked on textured paper because it was economical and works could be done quickly. The Henri Gallery (Washington, D.C.) presented a one-man show of his work in 1964. Jo Ann Lewis, in a review of an exhibition in which Sebree was included in 1982 writes, “Sebree reveals himself to be a gifted artist who somehow manages to cross Picasso and Paul Klee, but, in the end, produces intriguing little abstracts that are all his own.” 2 By the 1980s,Sebree was influenced by African primitive art, South Sea Islands and Chinese art. 1 Quoted in Marshall and Kimbrough, “Above and Beyond,” 12-13. 2 JoAnn Lewis, “Opening the Curtain for Black Artists,” review of Six Black Giants, Gallery 1221, Washington D.C., Washington Post 11 Feb. 1982 This show also included two dozen small works by Alma Thomas, James Lesesne Wells, Lois Mailou Jones, Ernest Crichlow, and Norman Lewis.

In the case of Charles Sebree, his artistic career nearly spanned his entire life, and he enjoyed considerable success—as a teenager living on the South side of Chicago during the 1920s until his death in Washington, D.C. in the mid 1980s. That’s certainly not to say that he had it easy—he did not. Battling racial and homophobic discrimination, hustling to make ends meet financially, he faced difficult times, but his work was always appreciated as being of high quality and always sold well. “When Gertrude Stein and Fernand Leger told me that I would be a big American painter someday I felt a little honored, but when I heard that Picasso had said that I was on the right track I really felt honored .” 1 Thom Pegg 1 Quoted in Marshall and Kimbrough, “Above and Beyond,” 5.

P l ay s W r i t t e n

Charles Sebree

1943

The Ballad of Dorie Miller

1953

Mrs. Patterson

L i t e r a ry W o r k s I ll u s t r at e d b y C h a r l e s S e b r e e 1936

This, My Brother by John Rood

1940

The Lost Zoo by Countee Cullen

1973

Not That Far by May Miller

1935 Breckenridge Galleries, Chicago, IL (solo) The Fourteenth International Exhibition of Watercolors; Art Institute of Chicago; Gris Dance 1936 40th Annual Exhibition by Artists of Chicago and Vicinity; Art Institute of Chicago, IL; Ritual Woman An Exhibition of the Work of John Pratt and Charles Sebree; The Renaissance Society, University of Chicago, IL

Paintings and Sculpture by American Negro Artists; The Renaissance Society, University of Chicago, IL

New Horizons in American Art; Museum of Modern Art, NY The Fifteenth International Exhibition of Watercolors; Art Institute of Chicago; Minstrel Fragments, Not Without Song 1937 Exhibition of Negro Artists of Chicago; Howard University Gallery of Art, Washington D.C. 1938

Chicago Artists Group Galleries

The Seventeenth International Exhibition of Watercolors; Art Institute of Chicago; Two Women

1940 The Nineteenth International Exhibition of Water Colors; Art Institute of Chicago, IL; Woman in a Boat (lent by Gertrude Abercrombie) 16

Katherine Kuh Galleries; Chicago, IL

1940

We Too Look at America (Opening exhibition of paintings by Negro artists of the Illinois Art Project, Work Projects Administration), South Side Community Art Center, Chicago, IL

American Negro Exposition; Tanner Art Galleries, Chicago, IL

44th Annual Exhibition by Artists of Chicago and Vicinity; Art Institute of Chicago; Woman in White Turban

Third Annual Arts Festival; Fort Valley State College, GA

1941

Exhibition of Negro Artists of Chicago; Howard University Gallery of Art, Washington D.C.

American Negro Art; Downtown Gallery, NY Exhibition of Book Illustrations by Jacob Lawrence, Charles Sebree, Vernon Winslow; South Side Community Art Center, Chicago, IL

Contemporary Negro Art; McMillen Inc., NY

1942 Second Annual Exhibition of the Society for Contemporary American Art; Art Institute of Chicago, IL; Woman Thinking About a House Paintings by Karl Priebe and Charles Sebree; Layton Art Gallery, Milwaukee, WI

The Twenty-First International Exhibition of Watercolors; Art Institute of Chicago; To Be Myself When Younger; To Think of Dusk

1943

Home Sweet Home; G Place Gallery, Washington D.C. 17

1943

Problems of the War and the Negro People; National Negro Conference, Detroit, MI

1946

Parkway Community House, Chicago, IL (solo)

1947

Representative Works by Chicago Artists; The Renaissance Society, University of Chicago, IL

1949

Roko Gallery, New York, NY (solo)

Swope Art Gallery, Terre Haute, IN Contemporary Painting: 32 Americans; Museum of Arts and Sciences, Norfolk, VA 1950

Carroll College, Waukesha, WI

1951 Saidenberg Gallery, New York, NY (solo) 60th Annual American Exhibition: Paintings, Sculpture; Art Institute of Chicago; The Note (pictured)

1954

Contemporary Painting and Sculpture from the Permanent Collection of IBM, Arizona State Museum, Harlem Saltimbanques

1964

Henri Gallery, Washington D.C. (solo)

1968

Salute to the Barnett Aden Gallery, Murphy Fine Arts Center, Morgan State College; Baltimore, MD

1970

Homage to Alain Locke; NY

1975

Amistad II: Afro-American Art; Fisk University, Nashville, TN

1976 Black Artists in the WPA, 1933-1943: An Exhibition of Drawings, Paintings and Sculpture; New Muse Community Museum of Brooklyn, NY Two Centuries of Black American Art; Los Angeles County Museum of Art, CA 1977 American Black Art: Black Belt to Hill Country: The Known and the New; Battle Creek Art Center, MI 1978

WPA and the Black Artist: Chicago and New York; Chicago Public Library, IL

1982

Six Black Giants; Gallery 1221;Washington D.C.

1984 Charles Sebree: A Retrospective; Evans-Tibbs Collection, Washington D.C. 1985

Hidden Heritage: Afro-American Art, 1800-1950, Bellevue Art Museum, WA

1986

Unbroken Circle: Exhibition of African American Artists of the 1930’s and 1940’s; Kenkeleba House, NY

1990

Barnett-Aden African-American Art Collection. Legacy: Thirty Paintings of Black Women; Holgate Library, Bennett College, Greensboro, NC

1992 African American Artists of the Harlem Renaissance Period and Later; Sacks Fine Art, Inc., NY 19

1993

African American Artists Then and Now; Sacks Fine Art, Inc,, NY

1994

The Harmon and Harriet Kelley Collection of African American Art; San Antonio Museum of Art, TX

1997

Revisiting American Art: Works from the Collections of Historically Black Colleges and Universities; Katonah Museum of Art, NY

1998

Narratives of African American Art and Identity: The David C. Driskell Collection; University of Maryland Art Gallery

Black New York Artists of the 20th Century: Selections from the Schomburg Center Collections; Schomburg Center for Research in Black Culture, NY

1999

To Conserve A Legacy: American Art from Historically Black Colleges and Universities; Andover, MA

African American Art in Chicago, 1900-1950; Robert Henry Adams Fine Art, Chicago, IL

The Great Migration: The Evolution of African American Art, 1790- 1945; Taft Museum of Art, Cincinnati, OH 1999 Southern Gate: African American Paintings from the National Museum of American Art, Smithsonian Institution; Duke University, NC 2000

The Walter O. Evans Collection of African American Art, Heckscher Museum of Art, Huntington. NY

2003

Challenge of the Modern: African American Artists, 1925-1946; Studio Museum in Harlem

2004 Chicago Modern 1893-1945: Pursuit of the New; Terra Museum of American Art, IL Images of America, African American Voices: Selections from the Collection of Mr. and Mrs. Darrell Walker; Walton Arts Center, NC 2006

African American Art: New Deal to New Power; Robert Henry Adams Fine Art, Chicago, IL

2009

Tradition Redefined: The Larry and Brenda Thompson Collection of African American Art; David C. Driskell Center, University of Maryland

In Search of Missing Masters: The Lewis Tanner Moore Collection of African American Art; Woodmere Art Museum, Philadelphia, PA

2010

The Artist Emerging (Their Early Years); Essie Green Galleries; NY

2011

Converging Voices, Transforming Dialogue: Selections from the Elliot and Kimberly Perry Collection; University Museum, Texas Southern University, Houston, TX

2011

The Harmon & Harriet Kelley Collection of African American Art: Works on Paper; Amon Carter Museum, Fort Worth, TX

2013

1920s to 1940s Black Visual Culture; Essie Green Galleries, NY

The Scott Sanders Collection Charles Sebree (1914-1985)

Art

01 Untitled (Harlequin’s Cocktail) gouache and beeswax with pigment on paper 8-3/4” x 6” signed Sebree

A similar work is illustrated on the cover of The International Review of African American Art: The Many Faces of Charles Sebree, v. 18, no. 3, Saltimbanque in Moonlight 23

02 Untitled (Man at Bar)

gouache and beeswax with pigment on paper 4-3/4â&#x20AC;? x 4-1/2â&#x20AC;? signed C. Sebree LL Illustrated: The International Review of African American Art: The Many Faces of Charles Sebree, v. 18, no. 3, p 2

03 Untitled (Saltimbanque) gouache and ink on paper 4-1/2â&#x20AC;? x 3â&#x20AC;? signed Sebree

04 Untitled (Little Dancer) watercolor on paper 6-5/8â&#x20AC;? x 3-3/4â&#x20AC;? signed verso 26

05 Untitled (Saltimbanque) gouache and ink on paper 6â&#x20AC;? x 4â&#x20AC;? signed Sebree LL

06 Untitled (Figure in a Geometric Composition)

gouache and beeswax with pigment on paper mounted on board 7-1/2â&#x20AC;? x 6-1/4â&#x20AC;? signed Sebree LL

07 Untitled (Head of a Boy)

gouache and ink on paper mounted on board 7â&#x20AC;? x 5-1/2â&#x20AC;? signed verso

08 Untitled (Woman in a White Headdress)

gouache and beeswax with pigment on paper 9-1/2â&#x20AC;? x 6â&#x20AC;? initialed CS upper right 30

09 Untitled (Figure with Checkered Shirt)

gouache and beeswax with pigment on paper laid down on board 9â&#x20AC;? x 6â&#x20AC;? signed Sebree LL sketch verso 31

10 Untitled (Girl with Flower)

1960 watercolor and gouache, sgrafito, and elements of newspaper collage on paper 12â&#x20AC;? x 9-1/2â&#x20AC;? signed and dated 1960 LL

11 Untitled (Masked Figure at Night) gouache and beeswax with pigment on paper 10â&#x20AC;? x 8â&#x20AC;? signed C. Sebree UL

12 Untitled (Woman in White Headdress) gouache and beeswax with pigment on paper 10-1/2â&#x20AC;? x 6-1/4â&#x20AC;? signed verso 34

13 Untitled (Portrait)

gouache and beeswax with pigment on paper laid down on illustration board 6â&#x20AC;? x 4â&#x20AC;? signed Sebree 35

14 Untitled (Masked Figure)

gouache and beeswax with pigment on textured paper 8-3/4â&#x20AC;? x 5-1/2â&#x20AC;? initialed LL 36

15 Untitled (Man in Pink Turban) gouache and beeswax with pigment on paper 7â&#x20AC;? x 5â&#x20AC;? signed verso

16 Untitled (Man With Vases) gouache and beeswax with pigment on paper laid down on illustration board 9-1/2â&#x20AC;? x 6-1/4â&#x20AC;? signed C. Sebree LL

17 Untitled (Saltimbanque) enamel on ceramic tile 5-3/4â&#x20AC;? x 5-3/4â&#x20AC;? signed

18 Untitled (Woman with Earring) felt tip pen on paper 11â&#x20AC;? x 8-1/2â&#x20AC;? signed sketch verso

19 Untitled (Woman With Flowers) gouache and beeswax with pigment on paper 7-1/4â&#x20AC;? x 5-1/4â&#x20AC;? initialed LL

20 Untitled (Witch Doctor)

gouache and beeswax with pigment and ink on gessoed board 12” x 6” signed Sebree LR Illustrated: The International Review of African American Art: The Many Faces of Charles Sebree, v. 18, no. 3, p. 10 42

21 Untitled (Burlesque Figure) gouache and beeswax with pigment on board 14” x 7-1/4” signed Sebree UR

Illustrated: The International Review of African American Art: The Many Faces of Charles Sebree, v. 18, no. 3, p. 11 43

22 Untitled (Pensive Woman at Bar) felt tip pen on paper 11” x 8-1/2” initialed LR

23 Untitled (Head of a Woman with a Geometric Scarf) lithograph on paper 9-3/4” x 6-1/2” signed in pen initialed

24 Benji

1982 gouache and beeswax with pigment on wallpaper 10â&#x20AC;? x 8â&#x20AC;? signed Sebree and dated 82 LR Illustrated: Black American Literature Forum, Charles Sebree Modernist, v. 19, no. 1 (Spring 1985), p. 7

25 Untitled (Woman With Plant) lithograph on green paper 11” x 8-1/2” signed in ink UR

26 Untitled (Woman With Plant)

felt tip pen on tracing paper 10” x 7” initialed LR

27 Untitled (Clown)

gouache on illustration board 6-1/2â&#x20AC;? x 5â&#x20AC;? initialed LR

28 Untitled (Man With a White Vase) gouache on wallpaper shaped like arch 11â&#x20AC;? x 7â&#x20AC;? signed

29 Potter’s Place

gouache and beeswax with pigment on paper laid down on illustration board 6-1/2” x 8-3/4” signed Sebree LL inscribed verso, This painting belongs to Mr. & Mrs. Sanders titled verso Illustrated: The International Review of African American Art: The Many Faces of Charles Sebree, v. 18, no. 3, p. 17

30 Christmas

graphite on paper mounted on illustration board 5-1/4â&#x20AC;? x 5â&#x20AC;? signed and dated 75 in ink

31 Untitled (Nurse)

32 Untitled (Man in a Green Cap)

Head of a Man (verso) sepia sketch initialed C.S.

Portrait of Christ (verso) sepia sketch initialed C.S.

gouache on board 10” x 8”

Additional Works Available by Charles Sebree

33 Head of a Man

c. 1950 gouache and ink on paper 9” x 6” signed

34 Head of a Woman

c. 1950 gouache and ink on illustration board 8-1/4” x 7-1/2” signed

35 Portrait of a Woman 1947 oil and mixed media on masonite 20-1/4â&#x20AC;? x 14-1/4â&#x20AC;? signed and dated UL