African American Art Auction - Chicago - June 6, 2015 by BLACK ART AUCTION

African American Fine Art June 6, 2015

AFRICAN AMERICAN FINE ART

AUCTION: SESSION FOUR - 20th Century Art & Design Auction LOCATION: John Toomey Gallery - Oak Park, IL TIME: 10 AM CST (Session 4 begins at approximately 4:00 PM CST) PREVIEW DATES: Saturday, May 30 - 10:00 a.m. – 5:00 p.m. Sunday, May 31 - CLOSED Monday, June 1 - 10:00 a.m. – 5:00 p.m. Tuesday, June 2 - 10:00 a.m. – 5:00 p.m. Wednesday, June 3 - 10:00 a.m. – 5:00 p.m. Thursday, June 4 - 10:00 a.m. – 7:00 p.m. Friday, June 5 - 10:00 a.m. – 5:00 p.m.

For more information, please contact: Thom Pegg thom@treadwaygallery.com 708.383.5234

JUNE 6, 2015

A MESSAGE FROM THE SPECIALIST-IN-CHARGE I am pleased to present the catalog for our third auction session of exclusively African American art. My original idea in creating this auction was twofold: to offer quality works by well-established artists familiar to most collectors in and outside the collecting field of African American art, and also to present work by lesser known artists, who are better known in regional markets. Included in this sale, among works by Romare Bearden, Elizabeth Catlett, Archibald Motley, Jr., and Laura Wheeler Waring, are striking images by artists who worked on the South Side of Chicago in the third quarter of the twentieth century—artists whose work may be unfamiliar to collectors in other parts of the country. I encourage you to consider these works and read the biographies of the artists. Similarly to finding new music, we make discoveries by learning about artists who are in some way connected to an artist we already like—reading about them and listening to a song or two—and sometimes, those discoveries become our new favorites. I was also impressed with the variety of mediums used by the artists to achieve the desired effect in their work. This sale of a little more than 100 lots illustrates the use of oil painting, watercolor, drawing, collage, photography, xerox, ceramics, various types of printmaking, and sculpture in steel, bronze, wire, and wood. As always, it was a pleasure to handle these pieces and learn about them. Please take a look and and let me know if you have any questions about any of the items or the artists themselves. The purpose of this supplemental catalog is to provide more in-depth information about each piece, but it’s impossible to include all relevant information. I am happy to provide additional images or additional biographical information. You may contact me directly at (708)383-5234 or thom@treadwaygallery.com.

BENNY ANDREWS (1930-2006)

Born in Madison, Georgia, the son of sharecroppers, Benny Andrews studied at Fort Valley State College (1948-50). After serving in the Korean War with the United States Air Force, he attended the School of the Art Institute in Chicago (1954-58), studying with Jack Levine and Boris Margo. He was generally viewed as an outsider, unyielding to the trends of abstraction at the time he was developing at the Art Institute. His work focused on figurative social commentary depicting the struggles, atrocities, and everyday occurrences in the world, especially in the African American community. In his drawings, paintings, and collages, Andrews continued to pursue representational art, which has been his focus throughout his long career. “Benny Andrews is a remarkable draftsman whose work is characterized by great economy of means,” Patricia P. Bladon wrote in Folk: The Art of Benny and George Andrews. “He infuses his drawings with the same integrity and passion which characterize his large-scale paintings.” Adversity did not deter him from honing his personal style, nor did increasing popularity quiet his social concerns. As his career flourished he continued to speak out on the inequalities facing African American artists and helped found the Black Emergency Cultural Coalition. He spent 29 years teaching art at Queens College and served as the Director of the Visual Arts program, a division of the National Endowment for the Arts (1982-84). His work received both critical praise and commercial acceptance. Elected to the National Academy of Design in 1977, he was awarded premier fellowships and exhibited widely in this country and abroad. Today, his work is found in the collection of many major museums, including the Brooklyn Museum of Art, NY; Detroit Institute of Art; Morris Museum of Art, GA; Hirshorn Museum, Washington D.C.; and the Metropolitan Museum of Art, NY.

651 MEN CONVERSING OVER DRINKS c. 1970 watercolor on paper laid on board signed 11” x 15.5” $1,500-2,000

ANTHONY BARBOZA (B.1944)

Barboza was born in New Bedford, MA. He was a founding member of Kamoinge, a group of photographers including Lou Draper, Al Fennar, Ray Francis, and Herb Robinson, Beuford Smith, and Shawn Walker, known collectively as the Kamoinge Workshop (1963). The group was formed to “address the under-representation of black photographers in the art world”. Roy DeCarava acted as its first director. He exhibited extensively from the mid-1960s to the present; selected exhibitions include Studio Museum of Harlem (Kamoinge Workshop Group Show, 1971), Columbia College, Chicago (1974), James VanDerZee Institute, Friends Gallery of New York (1974), Museum of Modern Art (1978), Smithsonian Institution (1999), and the Brooklyn Museum (2001). His work is in the permanent collections of MOMA, Studio Museum of Harlem, Brooklyn Museum, Schomberg Center (NY), Polaroid, and Howard University. His credits include countless art publications. Barboza was successful at crossing over from photojournalism and commissioned work to purely art photography. Note: “Kamoinge” means a group of people working together in Kikuya (an East African language).

608

607

MAN IN CAR c. 1966 vintage photograph 6” x 9” signed, dated, and stamped inscribed, “Pensacola”

NEW YORK CITY c. 1970 vintage photograph 9” x 6” signed verso

$1,000-2,000

ROMARE BEARDEN (1911-1988)

Romare Bearden was born in Charlotte, North Carolina, but raised largely in New York City. His family actively participated in the Harlem Renaissance, which provided the artistic and intellectual foundation for him to emerge as an artist of genuine talent, versatility, and conviction. Bearden studied at New York University, the Art Students League with George Grosz, and Columbia University. After serving with the army, he was able to travel to Paris and study at the Sorbonne. When he returned from his travel, his work became more abstract. His early Social Realist works gradually gave way to cubism in the mid 1940’s while he began exploring religious and mythological themes. In the early 1960’s, he began making collages as “an attempt to redefine the image of man in terms of the black experience.” Bearden’s early collages were composed primarily of magazine and newspaper cuttings. Together with his Projections, which were enlarged photostatic copies of these collages, they mark a turning point in his career and received critical praise. Bearden achieved success in a wide array of media and techniques, including watercolor, gouache, oil, drawing, monotype, and edition prints. He also made designs for record albums, costumes and stage sets, and book illustrations. His work is included in major public collections including the Metropolitan Museum of Art, the Whitney Museum of American Art, the Philadelphia Museum of Art, the Museum of Fine Arts, Boston, and the Studio Museum in Harlem. In 2003 the National Gallery in Washington, D.C., organized a major retrospective of Bearden’s work that subsequently traveled to the San Francisco Museum of Modern Art, the Dallas Museum of Art, the Whitney Museum of American Art, and the High Museum of Art in Atlanta.

681 REAL PEACE c. 1970-75 watercolor/gouache signed, titled 15” x 22.25” $20,000-30,000

Additional Notes: In 1954, Bearden married Nanette Rohan, and in the early 1970s, the two established a second residence on the Caribbean Island of St. Martin, her ancestral home. Bearden executed many works, especially watercolors, influenced by the lush landscape of the island. Bearden was explicit that, for him, the Caribbean was vital. “Art will go where the energy is. I find a great deal of energy in the Caribbean. It’s like a volcano there; there’s something unfinished underneath that still smolders.” (REF: Romare Bearden: The Caribbean Dimension, Sally Price and Richard Price)

ROMARE BEARDEN (1911-1988)

665 JAMMING AT THE SAVOY c. 1981-1982 etching and aquatint signed, titled and numbered in pencil, edition of 180 16.5” x 23.5” $5,000-7,000

668

666

THE FAMILY (MOTHER AND CHILD) c. 1980 color screenprint signed, titled and inscribed in pencil 18” x 14”

MARTIN LUTHER KING, JR., MOUNTAINTOP c. 1968 color screenprint on wove paper signed, with “Printed by Charles Cardinale, Fine Creations, Inc., New York. Published by HKL, Ltd., New York” 29.75” x 19.5”

$2,500-3,500

$4,000-6,000

JOHN ANANSA THOMAS BIGGERS (B. 1924)

Born in North Carolina in 1924, John Biggers’ body of work experienced a constant evolution throughout his career, yet consistently retained themes of southern African American culture rooted deeply in Africa. Biggers attended Hampton Institute (University) in the early 1940s, and befriended Charles White and Elizabeth Catlett. Much of his early work was social realist - depicting the everyday hard work and perseverance of the African American community. In 1949, Biggers moved to Houston, TX and chaired the art department at Texas State University (later Texas Southern). He remained there until his retirement in 1983. As his work progressed, it became increasingly more abstract, utilizing symbols drawn from everyday life and later from African art. Biggers’ work after 1980 was especially informed by the concept of “sacred geometry.” He used carefully constructed groups of 3, 4, and 7. Turtles, birds, quilt patterns, African combs, and xylophones are some of the repeated symbolic images found in his work. Biggers’ work may be found in the collections of Atlanta University, GA; Barnett-Aden Collection, Washington D.C.; Dallas Museum of Art, TX; Howard University, Washington D.C.; and the Smithsonian Institution.

618

617

GREAT GETTING UP MORN c. 1964 linocut signed, titeld and dated in pencil, numbered 4/6C 6” x 8”

BIRMINGHAM...CHILDREN OF THE MORNING c. 1964 linocut signed, titled and dated in pencil, numbered 5/15B 9” x 12”

$2,500-3,500

Other Notes: This is the original year this image was created and hand-pulled by the artist; “C” indicates that it was the third execution of the print. These early examples are very low editions. This image was titled “The Family” in a much later edition, pulled in 2000.

Other Notes: This is the original year this image was created and hand-pulled by the artist; “B” indicates that it was the second execution of the print. These early examples are very low editions. This image was titled “The Four Sisters” in a much later edition, pulled in 2000.

JOHN ANANSA THOMAS BIGGERS (B. 1924)

586 WOMAN CARRYING WATER c. 1969 ink and wash on paper signed and dated 15.75” x 11.5” $4,000-6,000 Provenance: Kenkeleba Gallery, New York, New York

619 TROUBLE IN THE AIR c. 1964 linocut signed, titled and dated in pencil, numbered 4/11B 9” x 12” $2,500-3,500 Other Notes: This is the original year this image was created and hand-pulled by the artist; “B” indicates that it was the second execution of the print. These early examples are very low editions. This image was titled “Up above My Head There’s Trouble in the Air” in a much later edition, pulled in 2000

JOHN ANANSA THOMAS BIGGERS (B. 1924)

589 MOTHER AND CHILD (lot of two Items) c. 1960 conte crayon and ink on paper signed and dated 10” x 13” $1,000-2,000 Provenance: Merton D. Simpson Gallery, Inc., New York, New York (label on verso) Other Notes: With a book: Ananse : The Web of Life in Africa, signed book written and illustrated by Biggers, 1962.

671

670

DAU FUSKIE RACE, THE FIRST RACE BETWEEN THE TURTLE AND THE HARE c. 1998 lithograph signed, dated and numbered in pencil, edition of 200 10” x 13.75”

BELIPHONE c. 2000 linocut signed, titled and dated in pencil, printer’s proof 19.25” x 13.25”

$1,000-2,000

LULA MAE BLOCTON (B. 1947)

Contemporary artist noted for her explorations of color, Lula Mae Blocton attended the University of Michigan, Ann Arbor and Indiana University. Early in her career, she eschewed traditional figuration, incorporating geometric shapes into into her studies of light, color, and curvilinear form. Blocton currently serves as professor of art at Eastern Connecticut State University. She has been featured in exhibitions at the Soho Center for Visual Arts, NY; Middlesex Community College, CT; Langston Hughes Cultural Center, NY; Indiana University, Bloomington; Slater Memorial Museum, CT; Martha Jackson Gallery, NY; and Douglas College Art Gallery at Rutgers University, New Brunswick, NJ. Her paintings and drawings are in the collections of First Fairview Capital Inc., Eastern Connecticut State University, The Connecticut State University System, Albright Knox Museum, Prudential Life Insurance Company, The Schomberg Center for Research in Black Culture, Larry Aldrich, Aldrich Museum of Contemporary Art and Indiana University.

667 UNTITLED c. 1971 oil on canvas signed and dated on verso 60â&#x20AC;? x 60â&#x20AC;? $4,000-6,000 Exhibitions: Afro-American Artists, National Exhibition of Paintings, Drawings & Prints, Indiana University, c. 1970 (label verso)

WILLIAM BRAXTON (1878-1932) Considered to be the first African American expressionist painter, William Braxton studied painting at Adelphi University under John Bernard Whittaker. His early paintings generally followed the tradition of other late 19th/early 20th century painters like Edward Bannister and William E. Scott. His portrait and subject studies were rendered in muted tones and thick impasto; and he generally favored oils, relatively small formats, and quiet, bucolic scenes. Braxton was one of the favorite painters of Arthur Alphonso Schomburg, collector and supporter of the visual arts. In 1911, he commissioned Braxton to paint a portrait of his second wife. Later, he commissioned Braxton to produce etchings and drawings of African Americans for his private collection. Schomburg was also responsible for organizing several exhibitions in which Braxton participated. In 1925, he had an exhibition of 56 oils, pastels, and drawings at the 135th St. branch of the New York Public Library. Together, along with J. Bruce Grit and other African American scholars, they formed the Negro Society for Historical Research with Braxton serving as the group’s art director. Braxton was one of the first African American artists to use an etching press. He created etchings of prominent African American citizens that were reproduced in Crisis and Opportunity magazines. His work was also featured in exhibitions held at the Harmon Foundation, NY; Smithsonian Institution; National Gallery of Art; and Howard University and is held in the private collection of the Schomburg Center, NY. Braxton’s work is exceedingly rare and is seldom seen at auction. His portrait paintings, which are clearly his most progressive work, are reminiscent of the Ashcan paintings done in the 1910’s.

593 CHARACTER STUDY c. 1910 oil on artist board signed lower right, signed and titled on verso 12” x 8” $1,000-2,000

591

592

OLD DAN c. 1910 oil on artist board signed lower right, titled lower center; signed and titled on verso 8” x 12

NUBIAN BOY c. 1910 oil on artist board signed lower right, titled lower center signed and titled on verso 12” x 8”

$2,000-3,000

$2,000-3,000 23

WENDELL BROOKS (B. 1939)

Wendell Brooks was born in Aliceville, Alabama in 1939. He received his MFA in printmaking and a BS in art education from Indiana University. He has received numerous fellowships, scholarship and grants, including a Grant Award from the Smithsonian Institutionâ&#x20AC;&#x2122;s National Museum of Art. Wendell Brooksâ&#x20AC;&#x2122; work is inspired by explorations in self-discovery, as well as cultural diversity, and is often inspired by African masks and the African culture. Brooks served a Professor of Art at The College of New Jersey for a number of years, beginning in 1971, where he had access to his own printmaking shop. His work has been featured in numerous group and solo exhibitions including Free Within Ourselves - American Artists in the Collection of the National Museum of African Art and the Smithsonian Institution, Washington, D.C. His work is also in many permanent collections including the Library of Congress, and the Macedonian Center of Contemporary Art in Greece. Brooks has also been featured in the African American Fine Arts Collection, published by the Geraldine R. Dodge Foundation.

677 HOMAGE TO THE BLACK SOUTH c. 1976 etching signed, titled and dated in pencil, artist proof 35” x 24” $2,000-3,000

MARGARET BURROUGHS (1917-2010)

In her dedication to educating others about and advocating for African American art, Margaret Burroughs became a cultural leader and role model. Born in St. Rose, Louisiana in 1917, Burroughs and her family became part of the Great Migration north to Chicago in 1922, in search of a better quality of life. She made the most of many valuable opportunities throughout her lifetime, beginning at Englewood High School, where she first became interested in art, and became the youngest member of George Neal’s Art Crafts Guild. She later studied at the Chicago Normal School. At age 22, she founded the South Side Community Art Center, a community organization that continues to serve as a gallery and workshop studio for artists and students. In the early 1950’s, Burroughs started the Lake Meadows Art Fair where African Americans could showcase and sell their art. Burroughs lived in Mexico for a time, where she studied printmaking and mural painting with the Taller Editorial de Grafica Popular (People’s Graphic Workshop) under Leopoldo Mendez, a prominent printmaker of the Diego Rivera circle. When she returned, she and her husband Charles founded the DuSable Museum of African American History in their living room. It remained there for nearly a decade until it moved to its own building in Chicago’s Washington Park. Throughout her career, Burroughs worked in many mediums, showing special facility in watercolors and linocut printmaking. For many years, she worked with linoleum block prints to create images evocative of African American culture. She is also an accomplished poet and author of children’s books. . In 1975 she received the President’s Humanitarian Award, and in 1977 was distinguished as one of Chicago’s Most Influential Women by the Chicago Defender. February 1, 1986 was proclaimed “Dr. Margaret Burroughs Day” in Chicago by late Mayor Harold Washington. Burroughs passed away on November 21, 2010.

Eleanor Chatman and Margaret Burroughs in Cuba

Her work is found in the collections of Howard University, Alabama State Normal School, Atlanta University, DuSable Museum of African American History, Johnson Publishing Company, and the Oakland Museum.

656 GIRLS WITH BRAIDS c. 1988 oil on board with applied stones and shells signed and dated 30â&#x20AC;? x 24â&#x20AC;? $15,000-25,000 Provenance: Eleanor Chatman, Chicago, Illinois. Ms. Chatman was one of Dr. Burroughs closest friends. Lots being offered from her collection are noted in provenance.

MARGARET BURROUGHS (1917-2010)

652 MASQUE c. 1990 spirit markers on paperboard signed, titled and dated 25” x 20” $2,000-3,000 Provenance: Eleanor Chatman, Chicago, Illinois

657

616

615

MOTHER AFRICA c. 2005 lithograph signed, titled, and dated 11/24/05 19.5” x 16.5”

MOTHER AND CHILD c. 2010 linocut signed and dated 16” x 12”

HOPSCOTCH c. 1991 linocut signed, titled and dated 23” x 17.5”

$500-700

Provenance: All works on this page are from the collection of Eleanor Chatman, Chicago, Illinois.

ELMER SIMMS CAMPBELL (1906-1971)

Illustrator and cartoonist Elmer Simms Campbell was born in St. Louis in 1906. His father worked as an assistant principal of a high school and his mother was an accomplished watercolorist. Campbell often sketched by her side as she worked. At age 14, he moved with family to Chicago where he attended Englewood High School, illustrating the school newspaper. In 1923, he won a nationwide contest for an Armistice Day cartoon which paid tribute to those servicemen who had died in WWI. After graduating, he attended the University of Chicago for a brief period, as well as the School of the Art Institute of Chicago, working nights illustrating for College Comics. While working as a waiter on a dining car to finance his education, he was discovered sketching caricatures of travelers by an executive of the Triad Studios, St. Louis. In 1929, Campbell moved to New York City where he worked for an advertising agency. He took classes at the Academy of Design and studied under George Grosz at the Art Students League. His signature style began to develop as he contributed freelance work to various magazines, including The Crisis, Opportunity, Life, and Judge. In 1933, he illustrated a full page color drawing for Esquire that was used as the cover of the first issue. He became the magazine’s art director and his illustrations and comics were a regular feature until 1958. Campbell’s work became enormously popular and appeared in widely in Ebony, Collier’s, the Saturday Evening Post, Redbook, Cosmopolitan, Playboy, and the New Yorker, as well as in newspapers, on motion picture posters, and as book illustrations. From 1943 until his death, King Features Syndicate distributed his single-panel feature Cuties to 145 papers nationwide. The gag cartoons were also included in many anthologies and were collected in three volumes: Cuties in Arms (1942), More Cuties in Arms (1943), and Chorus of Cuties (1952). Campbell is considered the first African American syndicated cartoonist and the first to appear regularly in national publications. Campbell won the Hearst Prize in 1936 and received an honorable mention in the American Negro Exposition in 1940. He was featured in exhibitions at the Harmon Foundation, Arthur H. Newton Galleries, and the South Side Community Art Center. His work is in the permanent collection of the Schomburg Center, NY.

This watercolor entitled, Creole Woman Started It, was part of the same series as Levee Front Stomp, executed for Esquire magazine in 1936. Campbell won an Honorable Mention for Creole Woman Started It in the American Negro Exposition held in Chicago in 1940. Campbell exhibited a total of ten watercolors at the Exposition which were noted to have been provided courtesy of Esquire. It is very likely Levee Front Stomp was shown as a part of this series.

597 LEVEE FRONT STOMP c. 1936 watercolor and gouache signed lower right 15â&#x20AC;? x 11â&#x20AC;? $10,000-15,000 Provenance: F.B. Horowitz Fine Art LTD., Hopkins, Minnesota (label on verso) Aaron Payne Fine Art, Santa Fe, New Mexico (label on verso) Other Notes: Simms executed a series for Esquire in 1936 depicting life of black Americans during the Harlem Renaissance

WILLIAM SYLVESTER CARTER (1909-1996)

Born in St. Louis, MO, William Sylvester Carter moved to Chicago in 1930 to study art at the School of the Art Institute of Chicago and the University of Illinois. In order to earn room and board, Carter worked as a janitor at the Palette and Chisel Club (an all-White club, to which he became an honorary member in 1986). He was among the artists represented in the American Negro Exposition assembled by Alonzo Aden, with the Harmon Foundation and the W.P.A. The same year, he exhibited at Howard University Gallery of Art. Carter also worked for the W.P.A in Illinois in 1943, and taught art at the historic South Side Community Center. His work may be found in the public collections of the Art Institute of Chicago, the DuSable Museum of African American History, and the South Side Community Art Center. Carter’s work, The Card Game, 1950, was recently included in the exhibition at the Art Institute of Chicago, “They Seek a City, Chicago and the Art of Migration” (see cat., p 87); it also appears in The Black Chicago Renaissance, by Darlene Clark Hine and John McCluskey, Jr.

691 WOMAN WITH WHITE SCARF c. 1940 oil canvas board signed lower left 9.5” x 7.5” $500-700

655 STILL LIFE WITH FRUIT AND VASE OF FLOWERS c. 1940 oil on canvas signed on verso 25” x 30” $1,000-2,000

WILLIAM SYLVESTER CARTER (1909-1996)

649

636

BRADBURY, RED BUILDING AND WHITE HOUSE c. 1940 oil on canvas signed on verso 22” x 28”

STILL LIFE c. 1940 oil on canvas signed lower right 20” x 30”

$1,000-2,000

$700-900

William Carter won the Honorable Mention in oil painting in 1940 at the American Negro Exposition for a painting entitled, Peonies and Old Porcelain. It is possible that this is the same painting.

650

629

CHICAGO JAZZ c. 1935 gouache signed and dated lower right, inscribed “Drawn especially for William McBride” 16” x 13.25”

FLORAL STILL LIFE c. 1940 watercolor on paper signed 19” x 21”

$1,000-2,000

$800-1,200 Provenance: Eleanor Chatman, Chicago, Illinois

Provenance: Property from the collection of Madeline Murphy Rabb, Chicago, Illinois

ELIZABETH CATLETT (1915-2012)

Born in Washington D.C., Elizabeth Catlett grew to be an artist best known for her politically charged, black expressionistic sculptures and prints. She attended Howard University where she studied design, printmaking and drawing. In 1940, Catlett became the first student to receive an M.F.A. in sculpture at the University of Iowa School of Art and Art History. Grant Wood instilled in her the idea of working with subjects that she, the artist, knew best. She was inspired to create Mother and Child in 1939 for her thesis. This limestone sculpture won first prize in its category at the American Negro Exposition in Chicago, 1940. From there, she studied ceramics at the Art Institute of Chicago, 1941; lithography at the Art Students League of New York, 1942-43; and with sculptor Ossip Zadkine in New York, 1943. In 1946, Catlett received a Rosenwald Fellowship that allowed her to travel to Mexico City where she studied wood carving with Jose L. Ruiz and ceramic sculpture with Francisco Zuniga. There, she worked with the Taller de Grafica Popular, (People’s Graphic Arts Workshop), a group of printmakers dedicated to using their art to promote social change. The TGP inspired her to reach out to the broadest possible audience, which often meant balancing abstraction with figuration. “I learned how you use your art for the service of people, struggling people, to whom only realism is meaningful,” she later said of this period. After settling in Mexico and later becoming a Mexican citizen, she taught sculpture at the National Autonomous University of Mexico in Mexico City until retiring in 1975. Ms. Catlett was more concerned with the social dimension of her art than its novelty or originality. “I have always wanted my art to service my people — to reflect us, to relate to us, to stimulate us, to make us aware of our potential.” Catlett’s work is represented in museums worldwide, including the Museum of Modern Art and the Metropolitan Museum of Art in New York, the Museum of Modern Art in Mexico City and the National Museum in Prague.

624 FIGURE c. 1961 bronze with green patina initialed 13.8”w x 7.5”d x 3.5”h held on a wooden base $10,000-15,000

ELIZABETH CATLETT (1915-2012)

658 A SECOND GENERATION c. 1992 color lithograph signed, titled and dated in pencil, AP 15.75” x 13.5” $2,000-3,000

611

612

SENTADO NINA c. 1951 color lithograph signed and dated 9.5” x 7.5”

CONTRIBUCION DEL PUEBLO c. 1950’s linocut signed 11.75” x 8.25”

$2,000-3,000

$1,000-2,000

ELIZABETH CATLETT (1915-2012)

686 GLORY c. 1986 linocut, printed in brown on black signed, titled, dated and numbered in pencil, edition of 100 14.25” x 9” $2,000-3,000

622

673

LESSON c. 1955 lithograph signed in the plate 15" x 18.5"

FIESTA c. 1988 color lithograph signed, titled and numbered in pencil, edition of 200 27â&#x20AC;? x 19â&#x20AC;?

$200-300

$1,500-2,000

HOUSTON CHANDLER (B. 1914) “Resistance of the material is not itself a hindrance…it creates fertile energy in one’s mind.”

Torso, c. 1946; wood; Parkway Collection of Important 20th Century African-American Works of Art

Houston Chandler, or “Keg” to his friends and acquaintances, attended Vashon High School and Lincoln University in St Louis. Chandler was a talented athlete as well as artist, and he competed in the 1934 St Louis relays. He was also a first-rate football player. He continued his education at the University of Iowa, earning both an MA and an MFA. He was the second African-American to earn an MFA from the University of Iowa, the first being his friend and fellow sculptor, Elizabeth Catlett. He studied with Humbert Albrizio, Lester Longman and James LeChay. During the summer of 1946 he resided at 713 S. Capitol St. in Iowa City and the 1946-47 directory listed his address as 29 W. College St. His work, he writes, “is primitive in the sense that he seeks the simplicity that brings out the most powerful line of expression.” Chandler experimented as an abstract painter, but his most important artistic endeavors were executed as sculpture or prints (aquatints). He was versatile and proficient in numerous mediums: wood, stone, beaten lead (masks) and ceramic. He found the physicality of print-making similar to making sculpture, and being the athlete that he was, this appealed to him. He was awarded many prizes at exhibitions for both mediums. His work can be found in the collections of Atlanta University, the University of Iowa, and the St. Louis Art Museum.

Gorilla, c. 1946; wood; Collection of the Saint Louis Art Museum 42

696 TORSO c. 1948 carved wood signed “Keg” and dated 19”h x 11” diameter 11” dia. x 19”h $3,000-5,000 Other Notes: “Keg” was Chandler’s lifelong nickname

CLAUDE CLARK (1915-2001)

Born on a tenant farm in Georgia in 1915, Claude Clark moved to Philadelphia with his family during the Great Migration in search of better economic opportunities. Following graduation from high school, Clark attended the Philadelphia Museum School of Art from 1935-1939, as well as receiving training from the Albert Barnes Foundation from 1939-1944. Clark’s early works were heavily influenced by French painters - as exemplified by his use of the palette knife to create texture and his use of heavy, dark lines to outline fluid shapes; however, his affiliation with Albert Barnes shaped his appreciation of African art and encouraged him to concentrate on images of African Americans. Rural life in the South and the Caribbean have been recurring themes throughout his career. Clark was instrumental in establishing the Art Department at Talladega College in Alabama, and taught there from 1948-1955, when he was succeeded by the young David Driskell. A number of Claude’s paintings from the 1960s are included in the National Afro-American Museum and Cultural Center in Wilberforce, Ohio, an institute who showcases African American Art of the Black Arts Movement. Clark’s work can also be found in many public collections including The Saint Louis Art Museum, the Smithsonian Institution, Atlanta University, and the Philadelphia Museum of Art. REF: Tradition Redefined, The Larry and Brenda Thompson Collection of African American Art, Brenda Thompson, American Negro Art, Cedric Dover

587 BOTTOM UP (SUMMER) c. 1952 oil on board 16” x 12” signed, titled, and dated 2,000-3,000 Exhibited: Talladega College, Talladega, AL (label on verso) 45

IRENE CLARK (1927-1984)

Irene Clark had a multi-faceted artistic career as a painter, designer and gallery director. She studied with the Art Institute of Chicagoâ&#x20AC;&#x2122;s 414 Workshop, as well as at the San Francisco Art Institute. Although an accomplished realistic painter, Clark adopted an expressionistic, and later, a neo-primitive approach to her artwork, drawing particularly from folklore she heard and read as a child. She was a member of The African-American Historical and Cultural Society and gallery director of the Exhibit Gallery and Studio, Chicago. Her work can be found in the collections of the Oakland Museum of Art, CA and Atlanta University. A Mansion at Prairie Avenue, 1955 is in the collection of The Art Institute of Chicago (Walter M. Campana Memorial Prize Fund).

628 BOY JUGGLING c. 1950 oil on board signed lower right 7.5” x 9.5” $500-750

WILLIAM E. COLVIN (B. 1930)

Artist, curator and educator who lives and works in Alabama. In describing his work, Dr. Colvin says, “My work involves an expression of the acceptance and participation of humans in American society. The loyalty, humanitarianism, love and dedication of the unsung heroes/heroines who have lived in this country’s history were not, too often, cited in the annals recording the nation’s past. Yet they were the bedrock of what made the country the nation what it is. I am focusing on being free from racial prejudice, Jim Crow laws or any suffering stemming from this type of political pressure. I am alluding to trials and tribulations which the young people passed through in a struggle to make a free life for us all. The journey to freedom is not easy, but the will and joy of the accomplishments have been and still are great. His work was included in the exhibition, Birmingham 2013: Remembering the Movement that Changed the World held at the Birmingham Public Library, which he also curated. Dr. Colvin was honored by Alabama State University’s National Center for the Study of Civil Rights and African-American Culture in 2012 for his achievements in visual art, education, and advocation of African American art.

641 RACE RELATIONS c. 1971 collage 54” x 72” $4,000-6,000 Exhibitions: Afro-American Artists, National Exhibition of Paintings, Drawings & Prints, Indiana University, c. 1970 (label verso)

ERNEST CRICHLOW (1914-2005)

Social realist painter, illustrator, and educator, Ernest Crichlow was born in 1914 in Brooklyn, NY. He began studying commercial art at the School of Commercial Illustrating and Advertising Art, NY and fine art with the Art Student’s League. In 1930, Crichlow found a mentor in Augusta Savage when he joined the Harlem Artist’s Guild, alongside other such notables as Romare Bearden, Jacob Lawrence, and Norman Lewis. Here he found his niche creating social realist works that packed a powerful message. During the Depression, he found work with the WPA, teaching art and working on mural projects. He used this platform to create works that captured “the indomitable inner strength, intrinsic beauty, dignity, and essential humanity of the African American community.” He continued to support his community by establishing Brooklyn’s Fulton Art Fair in 1958. In 1969, along with Romare Bearden and Norman Lewis he co-founded the Cinque Art Gallery, dedicated to supporting and exhibiting the works of emerging black artists. He created a 25 panel mural in 1976 for the Boys and Girls High School of Brooklyn depicting people at work in various trades and careers as an inspiration for those students to achieve excellence. Crichlow was also known for his illustrations and children’s books. Throughout his career, he participated in notable exhibitions at the American Negro Exposition, Chicago, 1940; the New York World’s Fair; the Harlem Community Center; the Downtown Gallery; ACA Gallery; and Atlanta University. He was honored as one of ten black artists from the National Conference of Artists by President Jimmy Carter in the late 1970’s. Crcihlow’s Ronnie, is in the Hewitt Collection of African American art.

588 RONNIE c. 1952-55 lithograph signed, titled and numbered in pencil, edition of 50 15.5â&#x20AC;? x 12â&#x20AC;? $2,500-3,500

CHARLES CRINER (B.1945)

Charles Criner was born in 1945 and grew up in Athens, TX. He attended Texas Southern University in Houston between 1964 and 1968, studying under John Thomas Biggers. The scenes of Criner’s stone lithographs, the medium he prefers best, are biographical images pulled both from childhood memories and the artist’s immediate environment; “My art reflects my beliefs and the things that I like to do. Fishing has always been one of my favorite pastimes... I also love to recapture the Black experience in the form of people working in the fields. I believe that these images are important and that they should be cherished windows into our past.” Criner’s artwork is included in numerous prestigious private collections and has been exhibited at or is in the permanent collections of: the Charles H. Wright Museum of African American History, Detroit, MI; the Tubman African American Museum, Macon, GA; the Schomburg Center for Research in Black Culture, New York, NY, the Tyler Museum of Art, TX; Museum of Printing History, Houston, TX; Texas Southern University; the Longview Museum of Fine Arts, Longview, TX; University of Arkansas; the Okane Gallery at the University of Houston; the King Center-Columbus, OH; Southern University at Shreveport, LA; Southern University at Baton Rouge, LA; the African American Museum Dallas, TX; and San Antonio Museum, TX. Currently, Criner is the Resident Artist at the Museum of Printing History in Houston. In the museum, he operates a studio, further defines his craft, and leads stone lithography workshops using his antique press.

620 DR. JOHN BIGGERS (together with 4 other works) c. 2000-2002 lithographs each signed largest 11.5” x 22” $800-1,200

ALLAN ROHAN CRITE (1910-2007)

Allan Rohan Crite was born in New Jersey and moved with his family to Boston as an infant. His interest in art was encouraged at an early age. He graduated from English High School in 1929 and the School of the Museum of Fine Arts, Boston in 1936. Crite was one of the first artists to observe and depict average African Americans engaged in their daily activities, primarily in the South End, Cambridge and Roxbury neighborhoods of Boston. According to Crite, “I’ve only done one piece of work in my whole life..I wanted to paint people of color as normal humans. I tell the story of man through the black figure.” Crite rejected the images of artists like Archibald Motley, Jr. and Palmer Hayden because he felt they were inaccurate in their portrayal of African American life--at least, in that those images were universal symbols. He earned the title of “reporter-artist”, rendering his subjects and scenery with such fine detail they appear almost like color photographs. A devout Episcopalian, his work soon began to exhibit strong religious themes as well, depicting blacks in interpretations of Biblical stories and African American spirituals. Crite also wrote and illustrated several books, created hand-tooled brass panels that once adorned a monastery, and designed and painted vestments and banners for St. Stephen’s Episcopal Church in Cambridge. His illustrations were published for many years in the 1970s and 80s as covers for Sunday service leaflets. Crite’s work is exhibited at the Smithsonian Institution; Museum of Modern Art, NY; Museum of Fine Art, Boston; and the Art Institute of Chicago.

590 A group including a sketch book, box of church donation envelopes, a small metal image, wood block, linoleum cut block, signed poster, various lithographs and a camera obsura. c. 1940

$5,000-7,000

Although Allen Crite executed large-scale oil paintings, the vast majority of his artistic output consisted of works on paper, especially watercolors and drawings. He made sketches and designs on a daily basis, and these were in many cases, seen by him as the final product窶馬ot a preliminary work. This sketchbook is being sold as a single lot because it came to us as such, but in actuality, there are nearly 50 works of art, many of which are substantial enough to be framed independently.

ALLAN ROHAN CRITE (1910-2007)

EMILIO CRUZ (1938-2004)

Emilio Antonio Cruz was an African American of Cuban descent born in the Bronx. He studied at the Art Students League and The New School in New York, and finally at the Seong Moy School of Painting and Graphic Arts in Provincetown, Massachusetts. As a young artist in the 1960s, Cruz was connected with other artists who were applying abstract expressionism concepts to figurative art such as Lester Johnson, Bob Thompson and Jan Muller. He combined human and animal figures with imagery from archaeology and natural history to create disturbing, dreamlike paintings. Harry Rand, Curator of 20th Century Painting and Sculpture at the Smithsonian American Art Museum, described Emilio Cruz as one of the important pioneers of American Modernism of the 1960s for his fusion of Abstract Expressionism with figuration. Cruz received a John Jay Whitney Fellowship as well as awards from the Joan Mitchell Foundation and from the National Endowment for the Arts. Cruz moved to Chicago and taught at the Art Institute of Chicago during the 1970’s where he exhibited widely and was represented by the Walter Kelly Gallery. He wrote two plays, Homeostasis: Once More the Scorpion and The Absence Held Fast to Its Presence. These were first performed at the Open Eye Theater in New York in 1981, and later were included in the World Theater Festival in Nancy and Paris, France, and in Italy. In 1982 he returned to New York where he began to exhibit again. In the late 1980s he resumed teaching at the Pratt Institute and at New York University. Cruz’s work has been featured in exhibitions at the Zabriskie Gallery, New York; Anita Shapolsky Gallery, NY; Walter Kelly Gallery, Chicago; Studio Museum in Harlem; and the Pennsylvania Academy of the Fine Arts. In 1994, Cruz’s work was shown as part of the American contingent at the IV Biennial Internacional de Pintura en Cuenca, Ecuador. His last show, I Am Food I Eat the Eater of Food , was held at the Alitash Kebede Gallery in Los Angeles in 2004. His work is held in many collections including the Museum of Modern Art, the Brooklyn Museum, the Studio Museum in Harlem, the Smithsonian American Art Museum and National Museum of African American History and Culture, the Hirshhorn Museum and Sculpture Garden, Washington, D.C., the Albright– Knox Art Gallery, Buffalo, New York, and the Wadsworth Atheneum, Hartford, Connecticut.

694 HEAD c. 1976 oil on canvas signed, titled and dated on verso 60â&#x20AC;? x 70â&#x20AC;? $1,000-2,000

BEAUFORD DELANEY (1901-1979)

Beauford Delaney’s talent was discovered by local and influential painter, Lloyd Branson whose support took him to Boston to study at the Massachusetts Normal School, the Copley Society, and the South Boston School of Art. In 1929, he moved to New York, where he became an important figure of the Harlem Renaissance, painting urban landscapes populated with the disenfranchised people he lived among, as well as portraits, sometimes of his famous friends. Although he was a well respected artist with influential friends like James Baldwin, Henry Miller, and Georgia O’Keefe, he couldn’t escape the sense of marginalization he felt as an individual who constantly had to overcome the inequalities of being not only African American, but homosexual as well. He moved to Paris in 1950, a place where he felt a new sense of freedom. His style shifted from the figurative compositions of New York City life, to abstract expressionist studies of color and light, notably a vibrant, Van Gogh inspired yellow. In 1956, he met Darthea Speyer, an American cultural attaché living in Paris. She organized a group exhibition of works which included Delaney at the American Cultural Center in 1966, as well as two solo exhibitions of his work at her gallery which was established in 1968. Delaney lived his remaining years in Paris, eventually being hospitalized for mental illness and dying in 1979. His work may be found in the collections of the High Museum of Art, Atlanta; The Studio Museum, Harlem, NY; the Smithsonian Institution, and Fogg Art Museum, Harvard University, MA.

697 UNTITLED (ABSTRACT COMPOSITION) c. 1965 watercolor and gouache on paper 19.75” x 14” $15,000-20,000

JOSEPH DELANEY (1904-1991)

Born in Knoxville, Tennessee in 1904, the younger brother of Beauford Delaney, Joseph Delaney, moved to New York City in 1930 where he enrolled at the Art Studentâ&#x20AC;&#x2122;s League. During the Great Depression, he painted many portraits on commission and was employed by the WPA. Beginning in 1931, Delaney became a regular exhibitor at the Washington Square Outdoor Art Exhibit where he offered portrait sketches executed during the event. His work shows a great love of New York City where he remained for 55 years capturing dynamic urban scenes and diverse figures depicted in a loose, exaggerated style. In 1985, Delaney returned to Knoxville, where he was named artist-in-residence at the University of Tennessee, until his death in 1991. His work can be found in the major collections of the Indianapolis Museum of Art; Alain Locke Society, Princeton University, Princeton, N.J; Clark Atlanta University, Atlanta, GA; Smithsonian Institution, Washington, D.C.; and the Harlem State Office Building Art Collection, New York. REF: Life in the City: The Art of Joseph Delaney, catalog for the exhibition: Ewing Gallery, The University of Tennessee, 2004. Frederick Moffatt.

634

595

NUDE c. 1935 oil on panel mounted to stretcher signed 30” x 42.5”

WOMAN WITH A FLOWER c. 1935 oil on canvas signed 24” x 19”

$3,000-5,000

$2,500-3,500

MIKKI FERRILL (B.1937)

Ferrill studied photography, drawing, sculpture at the Art Institute of Chicago, and became a professional photographer in the 1970s. “Photography was the medium that could give me all the aspects I wanted in an art form: the ability to record the situation as it truly appeared yet with a personal interpretation.” (REF: The Beautiful Project: “The Beautiful Project” uses photography to confront positive & negative portrayals of Black girls & women; www.thebeautifulproject.org ) “The varied photojournalistic work of photographer and curator Valeria “Mikki” Ferrill has focused on everything from black cowboys to “Dykes on Bikes” at the Gay Pride parade in San Francisco, giving faces to both racial and sexual communities that are little known in mainstream society.” (REF: The Queer Encyclopedia of the Visual Arts, Clause Summers, 2004.) Several of Ferrill’s works are included in the collection of the Art Institute of Chicago. She is listed in the Chicago Artist’s Archive (Chicago Public Library). REF: Shades of Black: Assembling Black Arts in 1980s Britain, David Bailey, 2005; The Black Photographers Annual (multiple years— 1970s). Her credits include Ebony, Jet, The Chicago Tribune, and Time.

609 UNTITLED DINER SCENE c. 1970 vintage photograph 5" x 8" signed and stamped verso $1,000-2,000

DAVIRA FISHER (B. 1918)

Davira Fisher was born in Cincinnati, Ohio in 1918 and is known for her bold and energetic woodblock prints and oil paintings featuring landscapes composed of architectural elements. She attended the University of Ohio, and then went on to study art under William Gebhardt, Albert Miller, and Herbert P. Barnett, Dean of the Cincinnati Art Academy. Her work has been featured in exhibitions at the Brooklyn Museum; Library of Congress; Smithsonian Institution; Dayton Art Institute; Cincinnati Art Museum; Butler Art Institute; and Pennsylvania Academy of Fine Arts. Her oil painting, Spanish Roofs, was exhibited in the 17th Annual Exhibition at the Cincinnati Art Museum. In 1956, her paintings and woodcuts were featured in a solo exhibition at Galerie Moderne, NYC, as well as a group exhibition in 1957 of the works of American graphic artists. In 1958, Fisher’s “blocky and methodical architectural paintings” were featured at the Juster Gallery, NY, and her woodblock, A Fallen Eden, appeared in the exhibition titled, American Prints: The Landscape, along with other works of the Associated American Artists, Inc in 1963. Fisher’s work is in the collections of the Cincinnati Art Museum, Dayton Art Institute, and Rutgers University.

627 MORE RAIN c. 1959 oil on canvas signed and dated; titled on artists’ label verso 20” x 28” $1,500-2,500

SAM GILLIAM (B.1933)

Since the 1960’s, Sam Gilliam has consistently worked in the abstract, exploring color, texture, and form with new and innovative techniques and media. He initially rose to prominence when he removed his richly pigmented canvases from their stretchers, draping them on walls or suspending them from the ceilings. With each new exhibition space, the canvas could be rearranged. By the late seventies, Gilliam drew influence from jazz musicians such as Miles Davis and John Coltrane. He started producing dynamic geometric collages, which he called “Black Paintings.” In the 1980s, Gilliam’s style changed dramatically to quilted paintings reminiscent of African patchwork quilts from his childhood. His most recent works are textured paintings that incorporate metal forms. Gilliam’s ability to move beyond the draped canvas, coupled with his ability to adopt new series keeps the viewers interested and engaged. This has assured his prominence in the art world as an exciting and innovative contemporary painter. Gilliam’s work can be found in the collections of the Museum of African Art, Washington D.C.; Museum of Modern Art; Phillips Collection; Washington Gallery of Modern Art; National Collection of Fine Arts; Corcoran Gallery; Howard University; Carnegie Institute; and the Walker Art Center, MN. Relevant examples of his work are illustrated in: Collecting African American Art, Halima Taha; African American Art and Artists, Samella Lewis; Tradition Redefined, The Larry and Brenda Thompson Collection of African American Art, Brenda Thompson; African American Art, Harlem Renaissance Civil Rights Era and Beyond, Richard Powell and Virginia Mecklenburg; Narratives of African American Art and Identity, The David C. Driskell Collection.

678 BB c. 1999 mixed media monoprint signed in ink on verso, published by Akasha, Minneapolis, 1999 14.5â&#x20AC;? x 19.5â&#x20AC;? $2,000-3,000

ROTELL GLENN (B. 1922)

Chicago painter, active from the 1940s-80s. The Vipers was a club on the south side of Chicago from the late 1930s through the 50s, where African American young adults would go to dance and keep up with the latest trends in dress and dancing. Excerpt from Chicago Boy: Life and Crimes of a Southside Streetfighter, by Edward Kenneth Burbridge (1991): “Walking along east 47th Street, Kenny eventually came upon the most notorious dance hall on the Southside, Warwick Hall, near St. Lawrence Avenue. Warwick Hall was so hip, a stone gas, it had four names: Warwick Hall (the name of the building), Upstairs (because it was located on the second floor), The Peps (it wasn’t because the patrons drank Pepsi), and the Vipers (named after all the heroin junkies that shot up and regularly attended the everlasting, seven-nights-per-week dances.” “The Vipers crowd would dance clock-wise around the floor, doing the famous Chicago Walk, where the men led the women, in their high-heeled shoes, backwards in a Fred Astaire-like soul routine…” Glenn’s work, like Burbridge’s account, was a reminiscing of earlier days of the neighborhood. REF: Afro-American Artists, Cederholm, DuSable Museum of African American History, Contemporary Black Artists, 1970. He exhibited at the 15th Annual Gold Coast Art Fair, 1972 (Chicago), and author and artist, Jan Spivey Gilchrist claims that Glenn lived up the street from her when she was young and acted as a mentor.

684 THE VIPERS SPRING DANCE c. 1980 oil on canvas board signed 24” x 36” $2,000-3,000 Provenance: Eleanor Chatman, Chicago, Illinois

BERNARD GOSS (1913-1966)

Painter, muralist, and printmaker Bernard Goss was born in Sedalia, Missouri. He studied at the University of Iowa, as well as the Art Institute of Chicago and the Institute of Design. Goss married fellow artist Margaret Burroughs in 1939, and their coachhouse flat became a social center, dubbed “little Bohemia,” for a wide and interracial circle of friends and colleagues. Burroughs and Goss worked together to help establish the South Side Community Art Center which opened in 1940. Goss’s 1939 painting “Musicians” appeared in Alain Locke’s, The Negro in Art. Goss exhibited at the Little Gallery, Iowa, 1934; Student Salon, IA, 1935; Illinois Federal Art Project; Library of Congress, 1940; American Negro Expostion, 1940; Tanner Art Gallery, 1940; Howard University, 1941; and the South Side Community Art Center, 1941,1945. He was most recently included in the exhibit, Convergence: Jewish and African American Artists in Depression-era Chicago at the Koehnline Museum of Art at Oakton Community College (2008).

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613

AFRICAN ANCESTOR c. 1965 linocut signed, titled and dated 21” x 16.5”

HYMN TO THE SUN c. 1965 linocut signed, titled and dated (inscribed M.B. 2007) 22” x 13”

$500-700

Provenance: Eleanor Chatman, Chicago, Illinois

J. EUGENE GRIGSBY (1918-2013)

Painter and printmaker J. Eugene Grigsby was born in Greensboro,North Carolina. As a boy, growing up in Charlotte, North Carolina, he met self taught painter and stonemason, Walker Foster, who invited him into his studio. This chance meeting showed Grigsby that African Americans could pursue art and in doing so would empower himself and others. At Morehouse College, he studied under Hale Woodruff. Like so many young African American artists, Grigsby found a mentor in him and a lasting influence on his work throughout his career. After graduating, he pursued a Master of Arts at Ohio State University and a Ph.D at New York University. His doctoral thesis was a comparative study of masks from the Northwest American Indian Kwakiutl Tribe and the Kuba tribe of the Belgian Congo. Early in his career, Grisby was known for creating scenes in oil or acrylics and woodcuts, lithographs and serigraphs that reflected his interest in depicting scenes of the everyday African American life. As the events of the 1960â&#x20AC;&#x2122;s unfolded, he was inspired to create more socially conscious art that reflected the struggles and triumphs of African Americans in resisting racism and oppression. By 1972, Grigsby had been working as a visiting lecturer in Africa, and his work incorporated African themes. Grigsby is internationally recognized as an educator and writer. In 1977, he wrote the text, Art and Ethnics: Background for Teaching Youth in a Pluralistic Society, featuring the visual arts of African Americans, American Indians, and Latinos. It is highly regarded by both scholars and artists as a definitive work of the late 20th century. A revised edition was completed in 1997 which included Asian American visual art. Grigsby continued to produce and show his work until his death in 2013. In 2001 a major retrospective of his work, The Art of Eugene Grigsby, Jr.: A Sixty-Five Year Retrospective, was held at the Phoenix Art Museum. In 2014, the Harvey B. Gantt Center for African American Arts and Culture in Charlotte, North Carolina held the exhibition, Selected Works of J. Eugene Grigsby, Jr.: Returning to Where the Artistic Seed was Planted, which showcased 30 works of art that spanned his entire career. His work may be found in the collections of Arizona State University Art Museum, Tempe; Delta Art Center, Winston-Salem, North Carolina; Malcolm X College, Chicago; Milwaukee Art Museum, Wisconsin; and Ohio State University, Columbus Ohio.

621 NO VACANCY c. 1964 woodcut signed, titled, numbered and inscribed, edition of 50 16” x 11.5” $1,000-2,000 Additional Notes: “No Vacancy compares the exclusion of African Americans from hotels and other public accomodations with the biblical exclusion of Jesus from the inn. This highly charged woodcut shows a black couple and their child along with the Ku Klux Klan, thus making a deeper visual comment about racism and injustice.” , St. James Guide to Black Artists, Paul Von Blum.

JOHN WESLEY HARDRICK (1891-1968)

John W. Hardrick was best known as an accomplished portrait painter and landscape artist. His distinctive landscapes, Impressionist in style, drew inspiration from William Forsyth, his instructor at the John Herron School of Art and member of the Hoosier Group. Hardrick made many trips to Brown County, Indiana, registering the details of the countryside with his mind, rather than a sketchbook. He painted from memory, mixing his own colors and applying the paint thickly and expressively, embellishing the scene somewhat with his own energy and imagination. Hardrick painted portraits of many of the well-known citizens of Indianapolis, both white and African American, as well as working as a WPA muralist in 1933-34. Because of his prodigious talent, throughout his career he often received community support. He participated in the Hoosier Salons in 1929, 1931, and 1934 and the 2nd Annual Exhibition of Contemporary Negro Art in San Diego. His most well known work, Little Brown Girl, was purchased by a group of Indianapolis African-American citizens and donated to the John Herron Art Institute.

594 INDIANA LANDSCAPE c. 1940 oil on board signed 30” x 36” $5,000-7,000

CHARLES TEENIE HARRIS (1908-1998)

Charles Harris was born in Pittsburgh, the son of hotel owners. He became interested in photography in the 1930s, and bought his first camera and opened a photography studio. He first delved into photojournalism by contributing freelance work to a Washington, DC based news-picture magazine called Flash! in the 1930s. From 1936 until 1975, he chronicled everyday life in black neighborhoods for the Pittsburgh Courier (one of the country’s oldest black newspapers). Harris was a working class photographer, who rarely traveled to other places or took artistic studio shots—rather, he captured daily activities of people where they lived. He captured images of many celebrities when they visited Pittsburgh, and photographed the legendary Negro League baseball players of the Homestead Grays and Pittsburgh Crawfords. Harris himself played for the Crawfords. He was frequently known as “One-Shot Harris” because of his spontaneous style of photography. REF: One-Shot: The Life and Work of Teenie Harris , documentary (film); 2001, produced by Kenneth Love. Reflections in Black: Smithsonian African American Photography, The First 100 Years, 1840 to the Present, Deborah Willis, 2012 (catalog accompanying the exhibition)

601

603

FOUR PITTSBURGH NEGRO LEAGUE PLAYERS c. 1940 gelatin silver print 8” x 10”

WORKERS OUTSIDE OF THE UNITED STATES STEELWORKERS OF AMERICA OFFICES c. 1940 gelatin silver print 11” x 14”

$600-800 $600-800 Exhibitions: Reflections in Black: Smithsonian African American Photography, The First 100 Years, 1842-1942, April 5, 2001-June 3, 2001, Bowdoin College Museum of Art, Brunswick, Maine.

Exhibitions: Reflections in Black: Smithsonian African American Photography, The First 100 Years, 1842-1942, April 5, 2001-June 3, 2001, Bowdoin College Museum of Art, Brunswick, Maine.

PALMER HAYDEN (1890-1973)

The Janitor Who Paints, c. 1930; oil/ canvas; collection of the Smithsonian American Art Museum 80

Born in Virginia in 1890, Palmer Hayden moved to Washington D.C. as a teen, working odd jobs and eventually joining the Ringling Bros. Circus. He made his first foray into art, drawing portraits of the performers for promotions. After an eight year stint in the Army, he moved to New York City and was able to study with Victor Perard, an instructor at the Cooper Union School of Art. During the summers of 1926 and 1927 he traveled to Maine to study at the Commonwealth Art Colony. The many landscapes and marine studies he painted here were shown in his first exhibition at the Civic Club in New York, and in 1926, he won the first Harmon Foundation gold medal for Distinguished Achievement in the Visual Arts for a painting of Boothbay Harbor titled, The Schooners. The prize money helped contribute to his trip to France where he resided for the next five years. He exhibited at Galerie Bernheim-Jeune in 1927 and was included in the Salon des Tuileries in 1930, as well as the American Legion Exhibition in 1931. Hayden continued to paint seascapes during his stay, but also began to develop his figurative painting and signature style, which remains controversial to this day. When he returned to New York his work evolved into an unpretentious representation of the black American scene in which he used a “consciously naïve” style to represent African-American folklore and contemporary scenes of Harlem. He continued to live and work in New York until his death in 1973. Similarly to Hayden’s most well-known work, The Janitor Who Paints , the central subject of this work conveys what the artist intended as a “protest”. The mother, presented as the Madonna of Humility, expresses the duality of her nature: she is seated on the stoop (in the Madonna of Humility, painted by Domenico di Bartolo in 1433 the Madonna sits on the ground and holds the infant Jesus) symbolizing her earthly identity, as well as her economic and social status; the halo and the putti signify her regal state. Hayden’s protesting the act of a singular first impression—and quite literally denies the viewer the possibility, just as he did with The Janitor Who Paints. Throughout Hayden’s body of (figurative) work, he addresses the African American identity, and cleverly, and many times controversially, points out that it is anything but a singularity, but rather a complex bundle of —sometimes contradictory—components adding up to the sum of the subject's humanity. He sometimes accomplished this by exaggerating compositional elements or utilizing surreal devices.

Domenico di Bartolo, Madonna of Humility, c. 1433

680 MADONNA OF THE STOOP c. 1940 oil on canvas signed 18.25" x 15" $10,000-15,000

A.C. HOLLINGSWORTH (1928-2000)

Alvin Hollingsworth, comic strip illustrator and painter, was born in New York City. He studied at the Art Students League and New York University. His work has been featured in exhibitions at the Spiral Gallery, New York; Terry Dintenfass Gallery, NY; Gallery Herve, NY; Afro-American Museum, Los Angeles; Howard University, Washington D.C.; Harbor Gallery, NY, and the Studio Museum in Harlem. His work may be found in the permanent collections of The Brooklyn Museum, NY and African Museum, Washington D.C. Considered an expressionist, Hollingsworth simplified forms to their basic elements and used various mediums within a single work.

682

637

NUDE c. 1960 oil on canvas signed lower left 40” x 10”

THE COTTON PICKERS c. 1966 oil on masonite signed and dated 24” x 36”

$1,500-2,000

$4,000-6,000

EARL J. HOOKS (B. 1927)

Sculptor, ceramicist, and photographer Earl J. Hooks began his career teaching crafts and ceramics in an adult recreation program in Washington D.C. Previously, he had studied at Howard University, 1949, attended Catholic University in Washington, D.C., and received graduate certificates from Rochester Institute of Technology and the School of American Craftsman in New York. He served as both a professor and chair of the art department at Fisk University from 1961-67 and taught at Indiana University Northwest Campus from 1954-61. Mr. Hooks gained recognition for his unique use of monochromatic forms that maximized the inherent properties and appearances of the materials used to create his quiet, somber sculptural works. His designs frequently took on geometric or biomorphic shapes that referenced his fundamental interest in the human body and facial expressions. He was committed to portrayals related to the African American experience and creative techniques that emphasized his keen understanding of the relationships between balance, light, harmony and space. His work is found in the collections of the Barnett-Aden Gallery, Washington D.C.; Smithsonian Institution; De Pauw University, Indiana; Howard University; Illinois State University; Milliken University; and the University of Alabama, Montibello.

602 UNTITLED c. 1960 ceramic vase signed 13â&#x20AC;?h $1,000-2,000 Provenance: Eleanor Chatman, Chicago, Illinois

EARL J. HOOKS (B. 1927)

d. a.

600 PAINTINGS, PENCIL SKETCHES AND PHOTOGRAPHS TOTAL OF THIRTEEN OBJECTS c. 1955

a. print b. exhibition announcement c. oil d. print e. photograph

$2,500-3,500 e. 86

f. colored pencil; g. photo; h. print; i. print; j. drawing; k. print; l. photograph; m. drawing

RICHARD HUNT (B. 1935)

Well known for his large scale public sculptures, Richard Hunt was born and raised on the South Side of Chicago. He displayed an early aptitude for modeling clay and carving so his parents enrolled him in classes at the Junior School of the Art Institute of Chicago while he attended Englewood High School. His father also allowed him the use of the basement of his barbershop as a studio. Hunt’s mother was a librarian at the Field Museum in Chicago and often brought him to work with her so he could marvel at the metalworks that were part of the African collection. Later, he worked in a zoological lab at the University of Chicago. The animal and insect forms he examined there influenced his early sculptures. While attending the Art Institute, Hunt became familiar with the work of Julio Gonzalez, a Spanish artist who created welded iron sculptures. Hunt used the welding torch to transform rough materials, mostly junked auto parts, into what was described as “sculptural calligraphy” - primarily abstract, with a hint of discernible biomorphic form. In 1956, he exhibited in the Artists of Chicago Vicinity 59th Annual Exhibition and won the Logan Prize for his cottonwood and steel sculpture, Construction D. In 1957, he won the Palmer Prize in the 60th Annual Exhibition for Steel Bloom Number 10. As a result of this recognition, Hunt’s sculpture Arachne was purchased by the Museum of Modern Art, NY for its permanent collection. After graduating, Hunt toured Europe, returning with even greater conviction that metal was the medium of the 20th century. As his career progressed, his personal style began to incorporate more closed contours and solid shapes. Eventually, the scale of his work grew as he began to accept more and more public commissions. He has produced more than 55 public sculptures, 34 in the state of Illinois alone. In 1967, the Milwaukee Arts Center held the first retrospective of his work, and in 1971 he became the first African American to have a retrospective held at the Museum of Modern Art, NY. Hunt’s work has been exhibited at Fisk University, Nashville, TN, Dorsky Gallery, NY; Cincinnati Art Museum, OH; Museum of Contemporary Art, Chicago, IL; Terry Dintenfass Gallery; and most recently the Chicago Cultural Center featured the exhibition, Richard Hunt: Sixty Years of Sculpture, 2015. His work may be found in the collection of the Art Institute of Chicago, IL; Cleveland Museum of Art; MOMA, NY; Nelson Atkins Museum of Art, Kansas City, MO; Milwaukee Art Center, WI; and the Whitney Museum of American Art, NY.

693 UNTITLED c. 1978 steel edition of 3 32â&#x20AC;?h, held on base designed by the artist $7,000-9,000 Provenance: Acquired directly from the artist

JERALD IEANS (B. 1970)

Contemporary artist who lives and works in St. Louis, Missouri. Ieans masterfully melds color, form and technique to create sensuous, yet precise, organic abstractions that recall his early interest in color-field painting and minimalism. Working in oil on canvas or wood, Ieans overlays large biomorphic shapes executed in colors that evoke personal meaning for him. Textured brushstrokes activate the composition and the forms appear to morph and shift within the confines of the strong rectangle of the support structure. In 2001, Ieans’s paintings were seen in Thelma Golden’s Freestyle exhibition at The Studio Museum in Harlem, and in the January 2002 Artforum, Ieans was introduced by Robert Storr, Senior Curator of Painting and Sculpture at The Museum of Modern Art, as a young artist who “shows special promise for the year ahead.” Jerald Ieans chose to bypass art school in favor of painting daily in his studio, reading about art and visiting the Saint Louis Art Museum where he studied their collection of modern and contemporary masters. By the age of twenty-four, Ieans’s distinctive style garnered him the honor of being the youngest artist ever to be given a solo exhibition at the Saint Louis Art Museum in their “Currents” series. His work can be found in the public collections of Barney’s New York, NY; Donald L. Bryant Jr. Family Art Trust, St. Louis, MO; Daum Museum of Contemporary Art, Sedalia, MO; Nerman Museum, Johnson County Community College, Kansas City, KS; Solomon R. Guggenheim Museum, New York, NY; The Studio Museum in Harlem, New York, NY; The Saint Louis Art Museum, St. Louis, MO; UBS Collection, Los Angeles. Blackboard Sky , (2009) was part of the Barn Series, inspired by the artist witnessing these structures silhouetted against the sky while traveling the open road in the Midwest.

689 BLACKBOARD SKY c. 2009 oil on canvas signed 32” x 39” signed titled and dated on stretcher $800-1,200

WADSWORTH JARRELL (B.1929)

Wadsworth Jarrell was born in Albany, Georgia. By the time he was school-age, his family had moved to Athens (GA). Athens was still a fairly small, segregated city, and the community of approximately 3,000 blacks strove to support one another. Wadsworth was interested—and talented—in art at an early age, and his parents withstood “healthy” skepticism to support him in this endeavor. His father was a furniture maker, and Wadsworth considered him to be an artist. When Wadsworth finished high school, he enlisted in the army and trained at Camp Polk in Louisiana. He acted as the company artist, making signs, maps and charts. He served his last six months in Korea. Upon returning from overseas, Jarrell moved to Chicago and enrolled in the School of the Art Institute of Chicago (1954-58). In the early 1960s, he was exhibiting his work throughout the Midwest and enjoying a strong measure of local success. The work included in this sale is typical in style and subject matter of that period of his work. (REF: “Shamrock Inn”, 1962, illus. p.6 in Wadsworth Jarrell, The Artist as Revolutionary, Robert Douglas, 1996.) In the mid 1960’s, following tumultuous local racial violence, Jarrell became involved in the Organization of Black American Culture, and befriended artist Jeff Donaldson, whom he had met years earlier. Together in 1967, they created “The Wall of Respect”, a mural depicting African-American heroes. For his part, he focused on rhythm and blues, featuring portrayals of James Brown, B.B. King, Billie Holiday, Muddy Waters, Aretha Franklin, and Dinah Washington. Around 1967, he and his wife Jae, opened WJ Studio and Gallery, where he hosted regional artists and musicians. His gallery became an important focal point for African-American art in Chicago . Shortly after, he co-founded COBRA (Coalition of Black Revolutionary Artists), whose platform became an integral part of the artistic style Jarrell adopted: their artwork was to act as a visual statement focusing on a central figure, profound and proud; secondly, the artwork must be readily understood, so lettering would be used to extend and clarify the message—and it must be incorporated into the composition; thirdly, the message must identify a problem and offer a solution; and finally, it must educate within a perspective of time (history). Eventually, the group chose to expand to an international platform, and changed their name to AFRI-COBRA (African Commune of Bad Relevant Artists). The group showed extensively, becoming known for sociopolitical themes as subject matter and the use of “coolade colors.” Jarrell continues to explore the contemporary African-American experience through paintings, sculptures, and prints. His work is found at the National Museum of African-American History and Culture, the High Museum of Art, The Studio Museum in Harlem, and the University of Delaware.

633 BAR SCENE c. 1965 oil on canvas signed lower left 26.5” x 24” $1,000-2,000

RASHID JOHNSON (B. 1977)

Rashid Johnson was born in Evanston, Illinois, and studied at the Art Institute of Chicago and Columbia College, Chicago. He first received critical attention when his work was included in the exhibition, “Freestyle” at the Studio Museum in Harlem, curated by Thelma Golden in 2001. The same year, two photographs were accepted into the collection of the Art Institute of Chicago. Exhibitions that followed were, Chickenbones and Watermelon Seeds: The African American Experience as Abstract Art, in which the artist used stereotypical African American food culture items, placing them on photographic paper and exposing them to light through an iron reactive process; Manumission Papers (2002), so-named for the papers freed slaves were required to carry to prove their status. Johnson showed photographic abstracts of feet, hands and elbows. This was considered a study in racial identity because the parts were not identifiable; and Seeing in the Dark, Winston-Salem State University (Diggs Gallery); In this exhibit, Johnson focused on images of homeless men. In conjunction with the Renaissance Society at the University of Chicago, he exhibited The Evolution of the Negro Political Costume in 2004, presenting outfits worn by African American politicians. The exhibition, The Production of Escapism: A Solo Project by Rashid Johnson was held at the Indianapolis Museum of Contemporary Art in 2005, and curated by Christopher West. This work addressed distraction and relief from reality through art and fantasy, using photos, video and site-specific installation to study escapist tendencies, often with a sense of humor that bordered on absurd. More recently, the Museum of Contemporary Art Chicago 2012, held Rashid Johnson: Message to Our Folks, which was both a retrospective and Johnson’s first major museum solo exhibition. This exhibit recently traveled to the Mildred Lane Kemper Art Museum (at Washington University in St Louis). Johnson uses nearly every medium in his work, and in that way, cleverly avoids limitation. That being said, the majority of his body of work is based in sculpture or photography. Introductory Image to a Twenty Image Suicide Documentary is equally literature, sculpture, photography and installation. It is an appropriation of an Elliot Erwitt photograph for Magnum, taken in 1950, which Julie Rodrigues Widholm, curator for the show at the MCA, suggests in the catalog for the exhibit, “(is) perhaps an oblique reference to the suicide at the end of Beatty’s novel.” She is referencing author Paul Beatty, an African American writer whose first novel, White Boy Shuffle , was a seminal text for Rashid Johnson, and which ends with a suicide. Another work by Johnson, Fatherhood as Described by Paul Beatty (2011) is one of his “shelf” works, and has various objects arranged on a literal shelf. The Erwitt photo appears in this work as well, directly below three copies of Bill Cosby’s book Fatherhood. The appropriation has a double meaning, as do most of Johnson’s symbolic references: the ultimate act of escape and also the concern for what hope exists for future generations. Johnson’s artistic endeavors, like Beatty’s literature, always address identity, both as an individual and as a race-and how those definitions coincide and conflict for each.

698 INTRODUCTORY IMAGE TO A TWENTY IMAGE SUICIDE DOCUMENTARY c. 2005 xerox/paper, unique 66” x 85” overall, in 30 parts (11” x 17” each piece) $20,000-30,000 Exhibited: The Production of Escapism , 2005, Indianapolis Museum of Contemporary Art. Christopher West, who curated the exhibit wrote, “Introductory Image to a Twenty Image Suicide Documentary” appropriates...such an image from Johnson’s childhood. Unable to let go of this powerful, iconic image from history, the artist embraces and repeats it. As exhibited, this piece was displayed directly across from and in dialogue with “The Evolution of the Negro Political Costume” (now in the Brooklyn Museum of Art) and together they become the cornerstone to his breakout exhibition. This photo has been a continual source of inspiration for Johnson and he has appropriated the image for several works throughout his career.

RASHID JOHNSON (B. 1977)

In a review of Johnson’s latest show, which recently closed at London’s Hauser & Wirth gallery, Danielle De Wolfe writes, “From the bold, repetitive images that adorn the walls... to the title of his latest exhibition, Smile, African-American socio-political photographer and artist Rashid Johnson is heavily influenced by the works of American street photographer Elliott Erwitt. Pittsburgh (Black Boy With Gun to His Head), a striking image taken by Erwitt during the 1950s, anchors itself as a pivotal reference point within Johnson’s latest body of work. “I keep coming back to this image over and over, and I’ve appropriated it into my work in the past,” says Johnson. “In many ways, the inspiration for the work in this show came from the anxiety and humor I see in this image.” Depicting a child with a wide grin on his face, holding a toy gun up to his head, Pittsburgh is heavily linked to the metamorphosis of Johnson’s work from his 2012 exhibition Shelter to this new collection of work in which ‘the figure’ features more prominently than ever before. Viewers may also recognise Johnson’s characteristic use of materials including bronze, wax and tile, with Smile placing a particular emphasis upon the line and the hand.” (REF: Danielle De Wolfe for DAZED, http://www.dazeddigital.com)

Taken from the exhibition, Smile, Hauser & Wirth, January 28 - March 7, 2015

FRED JONES (1914-2004)

Painter and printmaker, Frederick D. Jones, Jr. studied at Clark University in Atlanta and later at the Art Institute of Chicago with George Neal, the first African-American to teach at the institute, and Eldzier Cortor. He is best known for his numerous paintings of jazz figures, including Louis Armstrong, Lionel Hampton, and Pee Wee Russell. He exhibited at the South Side Community Art Center in Chicago, and widely in the South throughout the 1940’s. In 1943, he won the purchase award in 1943 at Atlanta University. Jones worked for a time with Hale Woodruff while in Georgia. Jones exhibited at Atlanta University, 1942 and 1943; Xavier University, 1963; and the Art Institute of Chicago, 1946-49 and 1951. His work can be found in the collections of Atlanta University and the Evans-Tibbs Collection in Washington D.C. REF: Tradition Redefined, The Larry and Brenda Thompson Collection of African American Art, Brenda Thompson, American Negro Art, Cedric Dover.

654 THE YOUNG FISHERMAN c. 1960 mixed media on canvas signed lower right 16” x 20” $1,000-2,000 Provenance: Property from the Estate of Frank Ternenyi, Chicago, Illinois

661 TWO WOMEN WITH FLOWERS c. 1940 oil on canvas signed and dated upper right 40.5” x 28” $4,500-6,500

JACK JORDAN (B.1925)

Jack Jordan was born in Wichita Falls, Texas. He received a B.A. degree in 1948 from Langston University in Langston, Oklahoma; an M.A. in 1949 from Iowa State University, and an M.F.A. degree in 1953 from the University of Iowa. He was Professor of Art at Southern University in New Orleans, and served on the State of Louisiana Commission of Creative and Performing Arts. He, along with Margaret Burroughs, founded the National Conference of Artists in Atlanta in 1959. He exhibited regularly at the Atlanta University Annuals, and was awarded the purchase prize in 1967 for his sculpture, Old Slave. He also exhibited at the New York Architectural League, National Sculpture Society, the Internationale Buchkunst Austellung (Leipzig, Germany), State University of Iowa, Louisiana State University Invitational, Lincoln University, and the Beaux Arts Guild (Tuskegee, AL). His work may be found in the collection of the Oakland Museum. The Smithsonian American Art Museum has his sculpture, Negro Girl Skipping Rope, in its collection. REF: Black Dimensions in Contemporary American Art, Atkinson; Afro-American Artists, Cederholm.

599 THE LETTER c. 1957 ink on paper signed and dated lower right 16.5â&#x20AC;? x 11.5â&#x20AC;? $1,000-2,000 Exhibitions: Exhibition of Paintings, Sculpture, and Prints by Negro Artists, Atlanta University, Atlanta, GA, April 7 May 5, 1957, label verso

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660 LIBERTY c. 1969 mixed media on masonite signed 46” x 21.5” $3,000-5,000 Exhibited: Indiana University, 1970

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ARTIS LANE (B.1927)

Whether she is creating purely figurative work that represents the universality of man, or portraits of such luminaries as Jacqueline Kennedy and Nelson Mandela, painter, sculptor, and educator Artis Lane has always been concerned with portraying enduring spiritual truths. Most recently she completed a bust of Sojourner Truth which has been installed in Emancipation Hall and is part of the collection of the U.S. Capitol. Julian Bond, chairman of the NAACP, remarked that she was a perfect choice to sculpt Truth because, “her family- her personal story-is so compelling, and in some ways she embodies the history of black Americans.” Lane was born Artis Shreve in 1927 in North Buxton, an all black village in Ontario, Canada. She is a direct descendant of abolitionist Mary Ann Shad Cary, who founded a school and the newspaper, The Provincial Freedom. One of her earliest memories is of recreating dolls out of clay she found in a stream on her grandmother’s property. She was painting portraits by age 6, and at 16, she received the Canadian Portraiture Award as well as the Edith Chapman Scholarship to the Ontario College of Art. Lane moved on to the Cranbrook Art Academy, and while in Detroit, had the opportunity to paint many of the important business and political leaders at the time, including Governor George Romney, Mayor Colman Young and several Ford family members. Lane worked and lived in New York City, Texas, New Mexico, and Mexico City before settling down more permanently in Los Angeles. Throughout her career she created portraits, explored social injustice, and the metaphysical - examining both the individual and mankind as a whole. She writes, “In my work, I strive to heal, uplift, and inspire viewers and collectors to find perfection in their own being.” She has created portraits of such luminaries as Nelson Mandela, Michael Jordan, and Oprah Winfrey. Her bronze portrait of Rosa Parks was the first work of an African American woman to be exhibited at the National Portrait Gallery in Washington D.C. In 1999, she designed the Congressional Medal of Honor awarded to Ms. Parks. Lane was inspired by this to further her artistic vision into the realm of the metaphysical with a series of works that explored mankind’s spiritual evolution, the culmination of which has been the creation of a 12 foot bronze sculpture called, Emerging Man. Her work has been featured in major group and individual exhibitions, including Dillard University, New Orleans, Louisiana; Hammonds House Museum, Atlanta, Georgia; DuSable Museum, Chicago, Illinois; and the Museum of African American Art, Los Angeles, California. In 2007 a major retrospective of Lane’s work was held at the California African American Museum which spanned 60 years and included nearly 100 works of art.

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625 BUST c. 1989 bronze signed 18.5â&#x20AC;?h $5,000-7,000 Provenance: Corporate collection

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JACOB LAWRENCE (1917-2000)

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Jacob Lawrence was born in Atlantic City, New Jersey to parents whom had moved from the south to find work. He was interested in art at an early age and after dropping out of high school, began training with Charles Alston at the Harlem Community Center. His work started gaining attention throughout the 1930s, and in 1940, when he painted what would become his best-known narratives, The Migration Series, a series of works based on the northern migration of southern blacks to the north. He joined Edith Halpert’s roster of artists represented at the Downtown Gallery in New York City in 1941. During WWII, he served in the Coast Guard, and was assigned to the first racially integrated ship in US history. In 1946, he accepted an invitation from Josef Albers to tech at Black Mountain College in North Carolina. He taught at many schools throughout his career, including the Art Students League, New School for Social Research, Pratt Institute and the University of Washington in Seattle, where he eventually retired.

669 TWO REBELS c. 1963 poster 30.5” x 20” $500-700 Other Notes: This is a rare poster version of Lawrence’s lithograph.

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CLIFFORD LEE (1926-1985)

A social-realist artist working in Chicago during the 1950s and 60s. Clifford Lee’s works are very scarce today. He studied at the Grand Rapids Gallery(MI) and the School of the Art Institute of Chicago. He worked primarily with a palette knife, and his paintings were shown at the Englewood Concourse Commission (supported by the South Side Community Art Center and the Du Sable Museum of African American History) , and the Hyde Park, Gold Coast and Lake Meadows Art Fairs. His work also appeared in Ebony magazine. Lee is included in Theresa Dickason Cederholm’s, Afro-American Artists, the 1974 Ebony Handbook and Falk’s Who’s Who in American Art.

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663

664

DUKE ELLINGTON AT THE PIANO c. 1969 oil on canvas signed, titled and dated 24” x 35”

JAZZ MUSICIANS c. 1970 oil on board signed lower right 29” x 45”

$3,000-5,000

Provenance: Eleanor Chatman, Chicago, Illinois

Provenance: Property from the collection of Governor Jim Thompson, Chicago, Illinois

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KEITH MORRISON (B.1942)

Harold Noecker, Angular Landscape (Division Street), c. 1944; oil/canvas; illustrated in Against the Grain: Modernism in the Midwest, William H. Robinson and Christine Fowler Shearer, p. 65

Zombie Jamboree, c. 1988; oil/ canvas; illustrated in African American Art: Harlem Renaissance Civil Rights Era and Beyond, Richard Powell and Virginia M. Mecklenburg, p. 179

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Referred to by his biographer as a “painterly storyteller”, Keith Morrison is not only a highly accomplished artist, but curator, art critic and educator as well. Born in Jamaica, Morrison’s formal art training was at the School of the Art Institute of Chicago, where he received both a B.A. and an M.F.A. Morrison’s art has been widely exhibited across the U.S and worldwide, including the Art Institute of Chicago; Smithsonian Institution; Anacostia Museum, Washington D. C.; Corcoran Gallery, Washington D.C.; and the California Afro-American Museum, Los Angeles. He represented Jamaica as an artist in the 2001 Venice Biennale, and served as U.S. critic to the 2008 Shanghai Biennale. He exhibited at the Southside Art Center (Chicago) in 1975. His works are held in the collections of numerous public institutions including, the Cincinnati Art Museum , the Art Institute of Chicago, the Philadelphia Museum of Art, the Pennsylvania Academy of Fine Arts, the Corcoran Gallery of Art, the Smithsonian American Art Museum , the Museum of Modern Art of Monterrey, Mexico, and the National Gallery of Art, Jamaica. Morrison has held faculty and administrative appointments at a number of distinguished universities and art schools, including DePaul University, University of Illinois, Chicago, Fisk University, TN, (1967-68) and dean of the Tyler School of Art at Temple University . Morrison believes this work may have been done in the early 1960s while he was in Chicago. It’s interesting because the work, when compared to his painting, Zombie Jamboree, from 1988 (collection of the Smithsonian American Art Museum), has many similarities: the scale, the bold palette, the slickness of line and the surrealist styling. The figure of the old woman leaning on the walking stick in the street scene is executed similarly to the line up of characters in the background of Zombie Jamboree , most especially, the skeleton. On the other hand, if you compare the work to Chicago modernist Harold Noecker’s Angular Landscape, painted in 1944, there are also remarkable similarities. This would be the case if compared to works by another Chicago modernist, Gertrude Abercrombie. One could make the case that Morrison had an early exposure to the Chicago modernist style of the previous two decades while studying at the Art Institute, and even chose a comparable subject in a Chicago scene, before moving on to more personally relevant subjects as a mature artist—yet not completely abandoning some of the stylistic approach.

639 CHICAGO STREET SCENE c. 1961-63 oil/canvas signed 38” x 50.5” $2,000-3,000

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ARCHIBALD MOTLEY, JR. (1891-1981)

Guanajuato, Mexico

Portrait of a group at Salto Saranton, Cuernavaca, Mexico, c. 1950’s Archibald Motley: Jazz Age Modernist, Richard J. Powell

Archibald Motley, Jr. was born in New Orleans and raised in Chicago. He studied at the Art Institute of Chicago and exhibited there in the early 1920s. He became the second African American artist to have a solo exhibition of his work in New York City in 1928, at the New Galleries. He won the Harmon Foundation Gold Medal the same year for his portrait, Octaroon Girl. He traveled to Paris on a Guggenheim Fellowship in 1929. When he returned, Motley worked for the WPA Easel Division in Chicago and was active at the Southside Community Art Center in the 1940s. Following his wife’s death in 1945, Motley was forced to give up painting and take a job at Styletone, Inc., a company that made hand-painted shower curtains, in order to support his mother and son. He worked there for eight years, from 1949-1957. Motley visited his nephew, Willard, an acclaimed novelist, in Mexico twice in the 1950s, the first time from 1953-1954, and again in 1957, after being laid off from his job at Styletone, Inc. Most of his time in Mexico was spent in Cuernavaca, which is just south of Mexico City, and Guanajuato state, which is northwest of the city. In the catalog entry for the painting in The Art of Archibald J. Motley, Jr., it states: “Motley’s small views of places he visited in Mexico were his first work in the genre of landscape painting since his images of Arkansas scenery painted in 1928. Closely based on tinted postcards of the sites, Motley’s Mexican landscapes are themselves like postcards recording the artist’s nostalgic memory of his Mexican sojourn…Motley worked in bright pastel colors and daytime effects inspired by Mexico’s bright natural light and the sunny hues of its architecture.” Motley’s work is featured in an exhibition currently at the Chicago Cultural Center: Archibald Motley: Jazz Age Modernist (this exhibition originated at the Nasher Museum at Duke University, then traveled to the Amon Carter Museum of American Art and the Los Angeles County Museum of Art; and will go on to the Whitney Museum of American Art when it leaves Chicago on August 31st)

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644 GUANAJUATO, MEXICO c. 1957 oil/canvas 9 x 12â&#x20AC;? signed and dated $30,000-50,000 Exhibited: The Art of Archibald J. Motley, Jr. Originating from The Chicago Historical Society (Oct 23, 1991-Mar 17, 1992) and traveling to the Studio Museum of Harlem (NYC), High Museum (Atlanta), and the Corcoran Gallery of Art (Washington, DC). Illustrated in accompanying catalog, p. 136.

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GUS NALL (1919-1995)

Gus Nall studied at the Art Institute of Chicago and in Paris. Fellow Chicagoans, Eldzier Cortor and Archibald Motley particularly influenced him. He was featured in Art Gallery Magazine (1968, “The Afro-American Issue”), Fine Arts & the Black American (Indiana University), as well as Carol Myers’ “Black Power in the Arts”. His work, Lincoln Speaks to Freedmen on the Steps of the Capital at Richmond, is in the collection of the DuSable Museum of African-American History. REF: Afro-American Artists, A Bio-bibliography Directory, Cedarholm, 1973.

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646 CUBIST INTERIOR WITH FIGURES c. 1955 oil on canvas signed lower right, framed 30” x 11” $1,500-2,500

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HAYWARD OUBRE (1916-2006)

Hayward Oubre’s art was met with critical success from the time he graduated Dillard University in New Orleans, as its first fine art major in 1939, throughout his long career as an artist and teacher, his repeated award-winning participation in the ever-important Atlanta (University) Annuals, to most recently, with its inclusion in the museum exhibition, Tradition Redefined: The Larry and Brenda Thompson Collection of African American Art. Oubre was a talented painter, printmaker and sculptor, trained by two of the best: Hale Woodruff and Elizabeth Prophet. He won numerous awards for his work in all mediums. Oubre was also a dedicated life-long educator, holding positions at Florida A & M University, followed by Alabama State College and finally Winston-Salem State University in North Carolina, retiring in 1981. Perhaps it was what Oubre didn’t do—what he refused to do—that was his greatest contribution. He didn’t automatically accept the standard: he developed a concise study of color mixing and color relationships that challenged the long-standing “color triangle” developed by Johann Wolfgang Goethe; he rejected the popular trends and the entries submitted for art exhibitions, calling for a higher standard and more innovative and challenging approach—and devised a technique of making sculptures from twisting common coat hangers without the use of welds or solder. Regarded as the “master of stabile”, his work was often compared to Alexander Calder. Oubre’s work has been featured in exhibitions at the Baltimore Museum of Art, Maryland; High Museum of Art, GA; Jacksonville Art Museum, FL; Minnesota Museum of Art, MN; Studio Museum in Harlem, NY; Atlanta University Annuals, GA; University of Iowa, IA; Winston-Salem State University, NC; Greenville County Museum of Art, NC; Lincoln University, Jefferson City, MO; Alabama State College; Woodmere Art Museum, PA; University of Delaware; Museum of Contemporary African Diaspora Art, Brooklyn, NY; Newark Museum, NJ; and Southern Illinois University, IL.

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643 PRODIGAL SON c. 1956 oil and collage on canvas 34 .4” x 26” $20,000-30,000 Exhibitions: Long Beach Museum of Art, “Exultations: 20th Century Masterworks by African American Artists”, June-August 1995; Michael Rosenfeld Gallery, exhibition of the same name, illustrated in catalog, p.20.

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HAYWARD OUBRE (1916-2006)

699 ENTANGLEMENT c. 1969 wire sculpture 44.25” x 17.5” x 19.25” $20,000-30,000

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674 AFTERMATH c. 1947 etching artist’s proof 10.5” x 13.25” $2,500-3,500 Exhibitions: Atlanta University Art Annuals: Exhibition of Paintings, Sculpture and Prints by Negro Artists, 1949.

623 KNEELING MOTHER c. 1951 bronze 32.5” x 22” x 21” signed and dated $15,000-25,000 Literature: Illustrated: American Negro Art, Cedric Dover, pl. 78

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GORDON PARKS (1912-2006)

Parks worked for the Standard Oil Company (New Jersey) on a project headed by former Farm Security Administration official Roy Stryker from 1943-1950. The project’s goal was to improve the oil industry’s public image by visually documenting the positive impact on the people and communities where the company had a sizable presence. The Negus Gold Mines were in Yellowknife, Northwest Territories (Canada); the Turner Valley Oil Field was also in Canada. Parks began shooting pictures when he was 25, and after his work for a fashion shoot was seen by Marva Lewis, wife of boxer Joe Lewis, she convinced him to move to Chicago in 1940. His work of chronicling life on the city’s south side led him to a fellowship with the Farm Security Administration. This was Parks’ introduction to Roy Stryker, with whom he worked again for Standard Oil. Parks did some work for Vogue in the late 1940s, and his photographic essay on a Harlem gang leader landed him a job at Life magazine. Parks’ photography has been the subject of numerous museum exhibits .

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605

606

NEGUS GOLD MINES c. 1945 vintage photograph 9.5” x 9.25”

TURNER VALLEY OIL FIELD c. 1945 vintage photograph 9.5” x 9.25”

$1,000-2,000

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JAMES PARKS (B.1907)

Parks was born in St Louis, and studied at Bradley University and the University of Iowa (under Philip Guston and Jean Charlot), 1943. He served as head of the art department at Lincoln University, an all-black college in Jefferson City, MO. He exhibited with the Harmon Foundation, 1929; St Louis Art Museum, 1946, Atlanta University (1940s-50s), Kansas City Museum, 1950, Tuskegee Institute, 1967, and Howard University, 1961, and elsewhere. Parks was a founding member of the National Conference of Art Teachers in Negro Colleges (which eventually became the National Conference of Artists) in 1954. His work is in the collections of Howard University, Atlanta University, University of Iowa, Lincoln University, and the Springfield (Missouri) Art Museum. ( REF: Afro-American Artists, Cederholm, American Negro Art, Dover, Black Dimensions in Contemporary American Art, Atkinson.) Archie Moore (1916-1998), the subject of this work, was a professional boxer and the longest reigning light heavyweight world champion of all time (1952-1962). Moore grew up in St Louis, MO, and in 1933, joined the Civilian Conservation Corps, working for a forestry division in Poplar Bluff, MO. He took up boxing and fought as an amateur throughout Missouri and Illinois. He turned pro in 1938. Moore eventually gained national recognition, but would have been especially well-known in Missouri. Moore went up in weight later in his career and fought Rocky Marciano, Floyd Patterson, and a young Cassius Clay (Muhammad Ali).

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James Parks, The Knock Out, c. 1944; lithograph; Second Atlanta University Purchase Prize, Prints, 1944; illustrated in In the Eye of the Muses: Selections from the Clark Atlanta University Art Collection, Tina Marie Dunkley and Jerry Cullum, p. 38

662 ARCHIE MOORE c. 1950 oil on canvas signed and titled 30” x 36” $7,000-9,000

121

CARL POPE (B. 1961)

Carl Pope’s artistic practice is committed to the idea of art as a catalyst for individual and collective transformation. His photographic and multi media investigations of the socio-economic landscape of Indianapolis earned critical acclaim at prestigious venues like the Museum of Modern Art and the Museum of Contemporary Photography in Chicago. The installation The Black Community: An Ailing Body received support from the John Simon Guggenheim Foundation and the National Endowment for the Arts in 1993. Pope frequently works in large-scale public art and collaborates with communities and cities to stimulate public dialogue and revitalization. He expanded his public art practice with projects in Hartford, Ct, Atlanta and New York for Black Male at the Whitney Museum of American Art. In 1996, Pope produced Palimpsest, a video/writing project. Palimpsest, commissioned by the Wadsworth Athenaeum with grants from the Warhol and Lannan foundations, was included in the Whitney Biennial 2000 exhibition. Pope’s most recent installation of letterpress posters called The Bad Air Smelled of Roses explores the concept of Phenomenology as seen in the writings of Martin Heidigger, a German philosopher of the early 20th century. Pope uses the medium of letterpress posters because they represent a presumptuous idea--they seem official. People look at the printed posters as a source of information and even direction. What Pope offers, however, is misdirection, so the viewer is required to reconsider. Another artist who explores phenomenology in a similar fashion is Shepard Fairey, with his OBEY THE GIANT propaganda campaign. Fairey created a fictional, but official-looking image, presented via stickers and graffiti pasters, in an attempt to unbalance the viewer and provoke reflection. Most of Pope’s subject matter, or what he might be inclined to call, “anti-subject matter” is concerned with his identity as an African American. Borrowing from the writings of Alain Locke (The New Negro, 1925) and Hubert Harrison (The Voice) and his “New Negro Movement”, Pope questions the role and identity of the African American today. He accomplishes this, not by offering solutions or pre-supposed identities, but by questioning everything and being provocative---and then as Heidigger explained the usefulness of Phenomenology, “letting things manifest themselves”. Some people might find several of the messages offensive, but Pope challenges them to question the very perspective from which that reaction emanates.

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679 LOT OF FOUR LETTERPRESS POSTERS c. 2005 all signed in pen by the artist three are 22" x 14", one is 19" x 14" $1,000-2,000 Other Notes: Two works by Pope from this series are currently included in the exhibit, "Occupational Therapy" at the Contemporary Art Museum in St. Louis, Missouri

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CHARLES ETHAN PORTER (1874-1923)

Charles Ethan Porter was one of the finest painters of fruit and floral still life compositions in America during the later nineteenth century. He was the first African American admitted into the National Academy of Design in New York, and later studied at L’École des Arts Decoratifs in Paris (1881) where he began exploring Impressionism and landscape painting. Until the very end of his career, Porter had been able to support himself with his earnings as an artist, however, according to the Hartford Black History Project, fellow painter and studio-mate, Gustave Hoffman, began selling Porter’s paintings door-to-door in Rockville, Connecticut because people would not buy art from a black artist. Porter died poor and in relative obscurity. In 1987, Connecticut Gallery organized a retrospective which secured Porter’s rightful place into the history of American art. A traveling retrospective of Charles Ethan Porter’s work was organized by Hildegard Cummings and the New Britain Museum of American Art in 2008.

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598 ROSES IN A GREEN VASE c. 1885-1890 oil on canvas signed lower right 20" x 16" $12,000-18,000

125

RAMON PRICE (1930-2000)

Ramon Price, the youngest brother of former Chicago mayor Harold Washington, was an accomplished artist, educator, and ambassador of African American art, whose efforts as chief curator of the DuSable Museum propelled the work of African Americans to an international level. Born in 1930 on Chicago’s South Side, Price attended DuSable High School. After graduating, he attended the School of the Art Institute of Chicago and received a Master of Arts from Indiana University. His dedication to art education and history was inspired by Margaret Burroughs, his art teacher and lifelong friend. Price returned to DuSable High School from 1960-73 to teach art. He served as art department chairman as well for three of those years. A painter and a sculptor, his works can be found in numerous collections. A bronze called Monument to Black Pride is part of the DuSable Museum’s permanent collection. He also taught art history at Indiana University and introduced a course in African and African-American art history at George Williams College in Downers Grove. Price began volunteering at the DuSable Museum in the early 1970s. He was widely respected and through his efforts and contacts the museum’s stature grew, said Don Jackson, the museum board’s chairman. At the time of his death, Price had been preparing the museum for the Oct. 21 opening of Margaret Burroughs: A Lifetime in Art, an exhibit of works by the museum’s founder. His sculpture, The Spirit of DuSable, 1977 is in the collection of the DuSable Museum of African American History, Chicago, IL.

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688 MAN WITH GUITAR c. 1970 oil on canvas signed, inscribed (signed M. Burroughs, 6/28/02) on verso 24" x 30 $3,000-5,000 Provenance: Eleanor Chatman, Chicago, Illinois Other Notes: It appears that Burroughs made the note on the verso, identifying the artist and signing her own name.

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BETYE SAAR (B.1926)

Saar was born in Los Angeles, and moved with her family to Pasadena in the early 1930s. She first studied design at Pasadena City College and interior design at UCLA. This strong design-centered background would prove to be highly influential in her mature work in fine art. She was close friends with two other L.A. artists, Curtis Tann and William Pajaud. Saar and Tann actually started an enamel design business which was featured in Ebony in 1951. After graduating, from the late 50s through the mid-1960s, Saar was primarily interested in print-making, producing color etchings and intaglio prints. During the turmoil of the 1960s, the Watts riots, the death of Martin Luther King, Jr. , Saar’s work began to shift to collage and assemblage, reclaiming and repurposing personal objects she inherited as well as negatively-charged objects she found at LA flea markets. She believed that a universality of international culture could be connected by reclaiming objects and artifacts from other cultures to be used in her own constructs of perspective. She also attended a retrospective exhibit of Joseph Cornell at the Pasadena Art Museum in 1967. Saar comments: “There has been an apparent thread in my art that weaves from my early prints of the 1960s through later collages and assemblages and ties into the current installations.” “I am intrigued with combining the remnants of memories, fragments of relics, and ordinary objects with the component of technology. It’s a way of delving into the past and reaching into the future simultaneously. The art itself becomes the bridge.” (REF: The St James Guide to Black Artists , p. 464, essay by Jontyle Theresa Robinson). Saar exhibited extensively throughout the 1970s and on, including: Whitney Museum, Wadsworth Athenaeum, San Francisco Museum of Modern Art, Studio Museum in Harlem, MOCA, Los Angeles, University of Connecticut, Hartford, Santa Monica Museum of Art, National Gallery (Smithsonian Institution), Fresno Center and Museum, etc. Her work is in numerous important public and private collections.

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675 UNTITLED c. 1990 color screenprint signed lower right, edition of 75 14.75” x 10.75” $1,000-1,500

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WALTER SANFORD (1912-1987)

Born in Detroit in 1912, Walter Sanford moved to Chicago to pursue formal art training at the Art Institute of Chicago under Laszlo Moholy-Nagy. He also spent a year at Detroit’s School of Arts and Crafts under John Carroll. Throughout his career he drew much inspiration from Chicago’s South Side, where he resided for many years. Sanford can be counted among the second wave of artists emerging from the Chicago Renaissance between 1941 and 1960. While he embraced a wide range of styles from naturalism to abstraction, he considered himself an abstract expressionist. By the 1950’s, his work was clearly influenced by Picasso. His tenure in Chicago was punctuated by travels to Las Vegas, Mexico, and France. In 1952, he received the Prix de Paris. Later in his career, he established a studio in Chicago where he began working on a series of portraits of real and imaginary figures inspired by the work of Mexican painters David Siqueiros and Diego Rivera. Sanford has exhibited in more than 20 major shows and had more than two dozen solo exhibitions. 648 COLLAGE (WOMAN) c. 1965 mixed media on masonite signed and dated upper right, titled, signed and on verso 24” x 12” $400-600

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645

687

GREY RAIN DEER c. 1965 mixed media on masonite signed and dated upper right, titled and dated on verso 24” x 48”

HE HAS LIVED FOREVER c. 1963 oil on board signed and dated upper right, titled, signed and dated on verso 29.5” x 23.5”

$800-1,200

$2,000-3,000

131

WILLIAM EDOUARD SCOTT (1884-1964)

Born in Indianapolis in 1884, William Edouard Scott became one of the most prolific mural, portrait, and genre artists to emerge from the Harlem Renaissance. After graduating from the Art Institute of Chicago, he traveled to France, where he met and spent time under the tutelage of Henry O. Tanner. Scott enrolled as a student at the Académie Julian, and had works accepted at the Salon de la Société des Artistes Francais in Paris, the second African-American after Tanner to do so. His work in Europe focused on French genre scenes, especially peasant life. When he returned to the States, he applied this French academic tradition to genre scenes painted of southern African Americans. He traveled to Tuskegee, Alabama in 1915 at the invitation of Booker T. Washington. The work by Scott offered in this auction, depicting Alabama sharecroppers, relates to another work, It’s Going to Come, painted in 1916. It’s Going to Come (sold Treadway-Toomey auction 9/13/98) is described in the book, A Shared Heritage: Art by Four African Americans, as follows: “The wooden shack and barren landscape are typical of the conditions under which poor southern black families lived… The woman appears to be searching for a solution to her family’s poverty and their constant struggle to survive. The subject is similar to Scott’s Parisian genre scenes, but here the artist expresses a very personal response to his firsthand observation of the plight of African Americans.” (William E. Taylor and Harriet Warkel; catalog to the exhibition, 1996) Woman at Washtub, c. 1931, in the collection of Clark Atlanta University depicts a very similar scene.

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Scott also painted portraits of important African American figures Frederick Douglas, Booker T. Washington, and George Washington Carver and illustrated several covers for The Crisis. Scott accomplished all of these things while supporting himself painting portraits and murals. In 1931, he received the Julius Rosenwald Fellowship to study and paint in Port-auPrince, Haiti. He spent over a year here and completed over 144 works depicting peasant life. After his return, he painted murals celebrating African American history and culture. In A Shared Heritage: Art by Four African Americans, Scott’s painting, Night Turtle Fishing in Haiti is discussed: “(it) combines a Tanneresque background with a scene reminiscent of Winslow Homer’s Bermuda paintings, particularly The Turtle Pound(1898) and Gulf Stream (1899)…Here the artist (Scott) returns to Tanner’s blue-green palette and dramatic use of light.” The composition of Deep Sea Fishing is almost identical to Night Turtle Fishing in Haiti, and the narrative is as relevant. Throughout his career, Scott remained devoted to traditional, academic methods of painting and realistic style. His work may be found in the collections of the Indianapolis Museum of Art, the Du Sable Museum of African American History, the New York Public Library, and Fisk University.

Night Turtle Fishing in Haiti, c. 1931; oil on canvas; illustrated in A Shared Heritage: Art by Four African Americans, William E. Taylor and Harriet G. Warkel, p. 36

It’s Going to Come, c. 1916; oil on canvas; illustrated in A Shared Heritage: Art by Four African Americans, William E. Taylor and Harriet G. Warkel, p. 24

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WILLIAM EDOUARD SCOTT (1884-1964)

585 ALABAMA SHARECROPPERS c. 1918 oil on canvas signed 27” x 22” $20,000-30,000

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596 DEEP SEA FISHING c. 1931 oil on board 18” x 12” $10,000-15,000

135

CHARLES SEARLES (1937-2004)

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Born in Philadelphia in 1937, artist and educator Charles Searles held a career-long interest in African tribal arts--he first incorporated mask forms and colors from Africa in these late 1960s and early '70s figurative paintings. By 1971, Searles had risen to prominence with the inclusion of his 1970 painting, News, in the exhibition of Contemporary Black Artists in America at the Whitney Museum of American Art. Searles studied at the University of Pennsylvania and the Pennsylvania Academy of the Fine Arts, graduating with honors, and later taught at the University of the Arts in Philadelphia for 19 years. His works are found in the collections of the Philadelphia Museum of Art, the Montclair Museum of Art, Montclair, NJ, the Dallas Museum of Art, the National Museum of American Art, Smithsonian Institution, Washington, DC, the Afro-American Historical and Cultural Museum, Philadelphia and Howard University.

640 AFRICAN THEME c. 1971 oil on canvas signed and dated lower right 30.25” x 24” $7,000-9,000

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CHARLES SEBREE (1914-1985)

Sebree was born and raised in Kentucky until, at the age of ten, he and his mother became part of the Great Migration north to Chicago. By the age of 14 he was carving out his own rough existence in the midst of the Great Depression. At this time, the Renaissance Society of the University of Chicago featured his drawing, Seated Boy on the cover of their magazine. He went on to train formally at the Chicago School of Design and the Art Institute of Chicago and used his interests in European modernism and African sculpture to forge his own individual style; one which evoked a mystical quality similar to old world Byzantine enamels and Russian icon paintings. Between 1936 and 1938 he worked for the WPA easel division, participated in the South Side Community Arts Center, and was involved with the Cube Theater. Sebree maintained a strong interest in the theater due to his friendship with Katherine Dunham. Guided by her influence, he explored set and costume design, theatrical production, writing, and dance, while continuing to paint. Sebree ran with a group of bohemian artists from Chicago and Wisconsin, which included Magic Realist painters Gertrude Abercrombie, John Pratt, John Wilde, Karl Priebe, and others. His work is found in many prominent collections including Howard University, the Smithsonian Institute, the St. Louis Art Museum, and the University of Chicago.

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647

659

HEAD OF A BOY c. 1938 watercolor signed, original frame 16” x 10.50”

HEAD c. 1938 oil on artist board signed and dated lower right 23” x 17.25”

$1,500-2,500

$5,000-7,000

Provenance: Grace Horne Gallery, Boston, 1938.

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BEUFORD SMITH (B.1941)

Born in Cincinnati, Smith became interested in photography after seeing images by Roy DeCarava in the book, The Sweetflypaper of Life. He moved to New York and was a founding member of Kamoinge, a group of photographers including Lou Draper, Al Fennar, Ray Francis, and Herb Robinson, Anthony Barboza, and Shawn Walker, known collectively as the Kamoinge Workshop (1963). The group was formed to “address the under-representation of black photographers in the art world”. Roy DeCarava acted as its first director. Smith became a freelance photographer in 1966 and a cinematographer in 1968. In an interview in Ten8 magazine, Val Wilmer wrote: “Beuford Smith is one of the outstanding documentary photographers who got out of what has been called the ‘cauldron of the sixties.’ His concerns are diverse, his vision humane and thoughtful…” His early portraits depicted the residents of Harlem and Brooklyn, visually expressing the community life in New York City. (REF: Reflections in Black, A History of Black Photographers 1840 to the Present, Deborah Willis, 2000) Note: “Kamoinge” means a group of people working together in Kikuya (an East African language).

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610 LOWER EAST SIDE c. 1968 vintage photograph 7.5â&#x20AC;? x 9â&#x20AC;? signed, titled, and dated 1968 stamped verso $1,000-2.000

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WILLIAM E. SMITH (1913-1997)

As a young boy in Chattanooga, TN, William E. Smith realized that he wanted to pursue the life of an artist. By 1932, he left home and became involved with the Karamu House in Cleveland, Ohio. The Karamu House had been established in 1915 by Russell and Rowena Jelliffe as a place for all races, creeds, and religions to find common ground in the arts. It quickly became a magnet for some of the best African American artists, as well as actors, dancers, and writers. Smith won a five year Gilpin Scholarship and used it to study at the John Huntington Polytechnical Institute. During the 30’s and 40’s, he exhibited extensively at the Cleveland Museum of Art and with Karamu Artists, Inc. After serving in WWII as a photographer, he studied illustration and advertising, later opening his own graphic arts studio and serving as art director of an advertising agency. In 1949, he relocated to Los Angeles, California where he painted signs by night for Lockheed Aircraft; by day, Smith painted portraits, made prints, and taught printmaking. As a part of the group Eleven Associated Artists, Inc., he co-founded the first African American art gallery in Los Angeles. Throughout his career, Smith was known primarily for his printmaking, mainly because it was an inexpensive way to produce art. He was able to make prints from simple objects such as linoleum and and umbrella stave. William E. Smith was known for his remarkable ability to show complex human emotion with brevity of line. Langston Hughes, his peer at the Karamu House, described Smith’s work as, “The humor and pathos of Negro life captured in line and color.” In 1976 the Karamu House paid tribute to Smith with a retrospective of his work entitled, “From Umbrella Staves to Brush and Easel.” Smith exhibited widely throughout his lifetime, including at the American Negro Exposition in Chicago in 1940, as well as the Cleveland Museum of Art, 1935-41; Library of Congress, 1943; Atlanta University, 1942, 1969; and the National Academy of Art and Design, 196668. In recent years, his work has been featured in, Yet We Still Rise:African American Art in Cleveland 1920-1970, 1996-97; Alone in a Crowd: Prints of the 1930’s-40’s by African American Artists, 1993-97; and a solo exhibition at the Anacostia Museum and Center for African American History and Culture in 2004. Examples of his work are included in the collections of the Library of Congress, Cleveland Museum of Art, Howard University and the Oakland Museum of Art.

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632 WOMAN IN THE TROPICS c. 1946 watercolor signed and dated 17” x 13” $2,500-3,500

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THELMA JOHNSON STREAT (1912-1959)

Thelma Johnson Streat was a multi-talented painter and dancer who focused her career on promoting ideas of multi-culturalism and raising the social awareness of inequalities among the lines of gender and race. In the late 1930s and early 1940s, Streat worked with the WPA executing murals in San Francisco. She worked closely with Diego Rivera on the Art in Action mural in 1940. She continued to use the genre of murals to address social inequality toward African Americans in the early 1940s, after she arrived in Chicago. By the mid1940s, her style became increasingly abstract, taking on a neo-primitivist feel, appropriating symbolism from many diverse cultures in an effort to communicate more universally. This turn in style has caused her work to be associated (in retrospect) with the Abstract Expressionists of the late 1940s and early 1950s. In 1946, Streat added another dimension to her work: dance. Her multi-dimensional performances and exhibits were the first of their kind, with Streat performing modern dance movements in front of paintings she had done that were thematically associated.

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642 SEATED WOMAN c. 1950 oil/masonite signed 30” x 30” $5,000-7,000

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ALLEN STRINGFELLOW (1923-2004)

Allen Stringfellow was born in Champaign, Illinois, the son of a nightclub singer and jazz guitarist. As a teenager, he designed costumes for his father’s colleagues and painted religious murals for local churches. He was an artist who came of age in the Depression, learning his craft at the University of Illinois and at the Art Institute in Milwaukee before perfecting it as a student and printmaking instructor in the South Side Community Art Center. Stringfellow and William Carter, a WPA artist who became his best friend, veered away from social realism. “I wanted to be an artist without a clenched fist in the air,” he says. “I thought being a black artist would be labeling myself, and besides, I was never mad.” Stringfellow painted pleasant watercolors, exhibiting them at art fairs on the south side. To make ends meet, he silk-screened store displays for an ad agency. For five years in the 1960s, he ran his own gallery, Walls of Art, where he promoted the artwork of major African American artists, as well as himself. Stringfellow went to work at Armand Lee in the late 60s, one of Chicago’s foremost custom framers and restorers of fine art. This kind of work sparked his interest in creating works on paper and collage. His work often includes religious and jazz imagery. Many of his most famous pieces are inspired by baptismal scenes from his youth, including Red Umbrella Down by the Riverside and Going to Lay Down My Sword and Shield. His work can be found in the collections of Art Institute of Chicago, the University of Illinois, the Chicago Historical Society, DuSable Museum, and the Schomburg Center for Research in Black Culture.

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692 JAMMING WITH THE QUEEN OF THE BLUES c. 2002 collage signed and dated lower right, titled lower left 23.5” x 17.5” $3,000-4,000

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FREDDIE STYLES (B.1944)

The ritual of rural living that requires a dependence on nature and the surrounding for subsistence had a profound effect on Freddie Styles, and continues to influence his painting. Flashes of nature appear in abstraction, expressed in new and innovative ways. For his Roots series, he substituted azalea roots for the traditional paintbrush. In other works he is known to press multiple sheets of crumpled fax paper with metallic inks onto a gessoed paper surface. Freddie Styles is a graduate of Morris Brown College and lives in Atlanta. He has served as an artist-in-residence at Clark Atlanta University, Clayton State University, and Spelman College. He was the Director of City Gallery East in Atlanta, GA from 2003-2008. Styles has received several purchase awards from the Atlanta Life Insurance Company. In 2001, he was awarded a King Baudouin Foundation Cultural Exchange Program grant through the Community Foundation of Greater Atlanta to work and study in Belgium. Museum group exhibitions include the High Museum in Atlanta, GA, and the Telfair Museum of Art in Savannah, GA. His work can be found in the collections of Atlanta’s Hartsfield-Jackson Airport, The Paul Jones Collection, State of Georgia Art Collection, King and Spalding LLP, Clark Atlanta University, Spelman College, and the Museum of Contemporary Art of Georgia. His work was featured in Tradition Redefined: The Larry and Brenda Thompson Collection of African American Art, Brenda Thompson. Thompson writes, “In Working Roots series, Styles drenched root stems with pigment to apply layers of color on the surface of the painting, creating a work both literally and figuratively rooted in nature.” She also mentions that Styles was an award-winning horticulturalist. Styles began his Working Roots Series in the late 1980s, but later Styles explained the transition into his most recent methods: “Over the years I got better at growing azaleas which limited the availability of azalea roots. After a brief period of experimenting with applying paint with bamboo branches…I started using pine needles.” “The Kerry’s Paintings are named for my brother/friend/collector, Kerry Davis.” Note: Kerry Davis was described in the International Review of African American Art, in a special issue on collecting, as “The Postman Who Delivers and Collects: Atlanta postman Kerry Davis lives in a cozy house in suburban Atlanta crammed with more than 200 works of art in various media and spanning several decades. The listing of the artists he has collected reads like a “Who’s Who” of modern and contemporary art. His collecting prowess stems from multiple factors including personal sacrifice.”

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690

695

SILVER TREES REVISITED-YELLOW c. 2014-2015 mixed media on canvas signed and dated lower right 12” x 24”

KERRY’S PAINTING (PINE NEEDLE SERIES) c. 2014 acrylic on canvas signed on verso, titled and dated on the stretcher

$1,500-2,000

30" x 30" $3,500-4,500

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BOB THOMPSON (1937-1966)

Born in Louisville, Kentucky in 1937, Bob Thompson studied art at the University of Louisville and Boston University before moving to New York in 1959. Between 1961 and 1966, he traveled the European continent, immersing himself in museums and painting. He produced approximately 1000 paintings and drawings in a career cut short by his untimely death in Rome. His first solo exhibition was held at the Delancey Street Gallery, NY in 1960. From there he exhibited widely, including the Art Institute of Chicago, Dayton Art Institute, and the Martha Jackson Gallery, NY. In 1998, the Whitney Museum of American Art held a major traveling retrospective of his work featuring over 100 of his paintings. Thompson’s work may be found in the collections of the Art Institute of Chicago, Brooklyn Museum of Art, Dayton Art Institute, Denver Art Museum, Hirshhorn Museum and Sculpture Garden, and the Indianapolis Museum of Art. Jacqueline Francis writes in her essay on Thompson: “While Thompson’s conceptions often began with paradigmatic works, his approach of reducing detail and paring down the compositional elements to bare essences made his paintings vastly different from the ones that inspired them. he consistently compressed the internal picture space and positioned the broadly painted, colorful elements in close proximity to one another. Objects and lines democratically share the same flat space…” REF: Bob Thompson, Thelma Golden (catalog for the exhibition at The Whitney Museum of Art, 1998)

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630

653

PORTRAIT OF A MAN (MORY) c. 1964 ink on paper signed, dated and inscribed “To my new and good friend...” 13.25” x 6.75”

NUDE c. 1960 watercolor and mixed media on paper 24" x 18" $4,000-6,000

$1,000-2,000

Other Notes: Accompanied by a letter of provenance.

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YVONNE TUCKER (B.1941)

Born in 1941, ceramicist Yvonne Tucker grew up in Chicago and initially thought of herself as a painter while taking classes at the Art Institute of Chicago and the South Side Community Center. She attended graduate school at the Otis Art Institute (now Parsonâ&#x20AC;&#x2122;s School of Design) studying drawing with Charles White and ceramics with Helen Watson. She was particularly influenced by Peter Volkous, who developed the art ceramics department there and emphasized clay as art. In 1967, she married Curtis Tucker and together they pursued their art both individually and in collaboration until his death in 1992. They experimented to create works which combined Japanese Raku techniques with traditional Native American, African, and African American elements that they called Afro-Raku. She often incorporated painted figural elements to their work as well. Tucker has exhibited at the Contemporary Gallery of Fine Arts, Dallas, TX; Alabama State University, Montgomery; Evan-Tibbs Gallery, Washington D.C.; and the Contemporary Art Center, Kansas City, MO. Her work may be found in the collections of Alabama State University, Montgomery; Fisk University, Nashville, TN; Syracuse University Afro American Ceramics Collection, NY; and the Evan-Tibbs Collection, Washington D.C.

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604 UNTITLED c. 1981 hand-decorated ceramic vessel signed and dated 9â&#x20AC;?h x 8â&#x20AC;? diameter $2,000-3,000 Provenance: Eleanor Chatman, Chicago, Illinois

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BILL WALKER (1927-2011)

William Walker was born in Birmingham, Alabama in 1927 and grew up in Chicago. After serving in World War II and in the Korean War, he studied fine arts at the Columbus Gallery of Art in Chicago (now Columbia College Chicago), and became the first African-American man to win the 47th annual group exhibition award. After graduating, he went to Memphis where he painted his first murals. A year later in 1955, Walker returned to Chicago and worked as a decorative painter and a postal worker. In the 1950s, Walker worked in this decorative style, and was even known to have painted a small mural of a Parisian street scene in the interior public space of an apartment building on East Madison Park Ave, in south Chicago in 1959. In 1967, he participated in a project related to the Organization for Black American Culture. This project was a community mural that would honor African American heroes and was named The Wall of Respect. The Wall of Respect started a nationwide movement of "people's art". From there, Walker cofounded the Chicago Mural Group (now known as the Chicago Public Art Group) with John Pitman Weber and Eugene Eda, while continuing to paint murals in Chicago. Walker painted murals to make the community more aware of the racial strife going on in America at that time and to spur individuals to get more involved in solving racial problems. His work was featured in the solo exhibition, Images of Conscience: The Art of Bill Walker, held at Chicago State University in 1984.

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635 COURTYARD SCENE c. 1956 (double sided) oil on masonite signed and dated lower right 24” x 32” $800-1,200

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KARA WALKER (B. 1969)

Kara Walker is a contemporary African-American artist who explores race, gender, sexuality, violence and identity. She is best known for her room-size tableaux of black cut-paper silhouettes. Walker lives in New York and is on the faculty of the MFA program at Columbia University. Walker moved to her father's native Georgia at the age of 13 when he accepted a position at Georgia State University. She received her BFA from the Atlanta College of Art in 1991 and her MFA from the Rhode Island School of Design in 1994. Walker first came to art world attention in 1994 with her mural Gone, An Historical Romance of a Civil War as It Occurred Between the Dusky Thighs of One Young Negress and Her Heart. This unusual cut-paper silhouette mural, presenting an old-timey south filled with sex and slavery was an instant hit. At the age of 27 she became the second youngest recipient of the coveted John D. and Catherine T. MacArthur Foundation’s “genius” grant. The 2007 Walker Art Center exhibition Kara Walker: My Complement, My Oppressor, My Enemy, My Love was the artist’s first full-scale U.S. museum survey. Walker currently lives in New York, where she has been a professor of visual arts in the MFA program at Columbia University since 2001. Influences include Andy Warhol and Robert Colescott, who inserted cartoonish Dixie sharecroppers into his version of Vincent van Gogh’s Dutch peasant cottages. Her work has been exhibited nationally and internationally and is included in the collections of major museums worldwide.

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676 SILHOUETTE c. 1998 lithograph signed upper right 24” x 17.5” $2,500-3,500

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ALBERT WELLS (1920-2001) Born in Charlotte, N.C., Albert Wells studied at Morehouse College in Georgia and was a member of the “Outhouse School”, a group of African American artists, which included Hale Woodruff, who were known for their landscapes of rural Georgia. Wells was awarded first prize and $50 in a nation-wide exhibition of Negro artists at Dillard University (Fourth Annual Exhibit of Art), according to an article in The Crisis (June, 1940). Wells exhibited the oil, End of Winter, at the American Negro Exposition in Chicago (1940). He also exhibited at Atlanta University (1942 and 1944) and the Institute of Modern Art in Boston (1943). His work, Georgia Winter, was included in Alain Locke’s The Negro in Art, A Pictoral Record of the Negro Artist and the Negro Theme in Art. “His (Wells) works display a distinctive brushwork that is at once expressionist and constructive, and a richly chromatic palette—all indications that he had fully mastered the principles of Woodruff’s teaching.” (citation, Daniel Schulman, Chicago curator and art historian) Wells assisted Woodruff in the execution of the Amistad Murals at Talladega College in 1939.

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631 NUDE IN THE STUDIO c. 1949 oil on canvas signed and dated 23.5” x 17.5” $4,000-6,000

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LAURA WHEELER WARING (1887-1948)

Laura Wheeler Waring was born in Hartford, Connecticut to the Reverend Robert F. Wheeler and Mary (Freeman) Wheeler. Waring (née Wheeler) began painting watercolors in her early teens and won several awards before graduating from the Hartford Public High School in 1906 and the Pennsylvania Academy of Fine Arts, in 1914. In 1924, she traveled to Paris with novelist Jesse Redmon Fauset and furthered her studies at L’Academie de la Grande Chaumiere under Botel de Monvel, Robert Henri, and Delacluse. At this time, she began to gain recognition among an emerging group of African American artists. Henry Ossawa Tanner introduced her to artists Palmer Hayden, Malvin Gray Johnson, Nancy Elizabeth Prophet, Augusta Savage, and Hale Woodruff as well as Langston Hughes and Roland Hayes. In 1927, she married Walter E. Waring, a professor at Lincoln University, an all-black college located in Jefferson City, MO. Waring was an accomplished landscape and still life painter, but her best known work is in portraiture. In 1927, she won the Harmon Foundation gold prize for her portrait Anne Washington Derry. She executed portraits of several prominent African Americans, including Marian Anderson and W.E.B. Du Bois - all of which are in the permanent collection of the National Portrait Gallery, Washington D.C. Waring’s work in figure painting was singled out once again by the Harmon Foundation in 1944, when eight of her portraits were shown in the exhibit, Portraits of Outstanding American Citizens of Negro Origin. In addition to fine art, Waring also produced illustrations for the children’s books published by Harcourt, Brace, and Howe, Inc., The Brownies Book, and for the cover of The Crisis. She also taught at Cheyney State Teachers College, PA, where she became director of the art department until 1945. Her work may be found in the collections of Howard University, Washington D.C.; Evan-Tibbs Gallery, Washington D.C.; Barnett-Aden Collection, Florida; and Cheyney State University, PA. This is the finest work to have ever been offered at auction by this artist, and an excellent example of her abilities as a figure painter.

160

626 AFTER SUNDAY SERVICES c. 1940 oil on canvas signed lower right 30” x 14.5” 40,000-60,000

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WALTER HENRY WILLIAMS (1920-1998)

Painter, printmaker and sculptor, Walter Williams studied art at the Brooklyn Museum Art School under Ben Shahn, Reuben Tam, and Gregoria Prestopino. He also spent a summer studying art at the Skowhegan School of Painting and Sculpture in Maine. In 1955, Williams won a Whitney Fellowship that permitted him to work and travel in Mexico. He also won a National Arts and Letters Grant in 1960 and the Silvermine Award in 1963. Williams moved to Copenhagen, Denmark in the 1960â&#x20AC;&#x2122;s to escape the discrimination of the United States. While he was in Copenhagen, he created a series of colorful woodcuts of black children playing in fields of flowers. He returned to the United States to serve as artist-in-residence at Fisk University in Nashville, Tennessee. Here he completed a body of work informed by the experiences of being an African American living in the South. Walter H. Williams died in Copenhagen in June 1998. His work is included in the collections of many prominent institutions, including the Whitney Museum of American Art, the Brooklyn Museum, Howard University, and the National Gallery of Arts, Washington D.C. Williams exhibited first with Michael Freilich (Roko Gallery) and then with Terry Dintenfass, both long-time New York gallery owners who, when nearly all artists showing in New York galleries were white, represented several black artists.

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672 GIRL WITH BUTTERFLIES #2 c. 1964 color woodblock signed, titled, dated, numbered 103/250 20" x 26" $2,000-3,000

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MAURICE WILSON (B.1954)

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Contemporary artist active in Chicago, Illinois, Maurice Wilson has been featured in the group exhibitions, 5+5: Ten Perspectives in Black Art, Chicago Cultural Center; A Diaspora Rhythm, Elmhurst College, IL; The Dr. Robert H. Derden Collection: A Black Collector's Odyssey in Contemporary Art, College of Lake County, IL; and American Visions: Afro-American Art 1986, Frederick Douglas House, Washington D.C. A solo exhibition of his work was held at the Peter Miller Gallery, Chicago in 1987.

685

683

SELF PORTRAIT c. 1980 oil on canvas initialed “M.W.” on verso 20” x 16”

SELF PORTRAIT c. 1976 oil on board signed and dated, inscribed “12-18-76, CRP M. Wilson, 1983, M.W.” 20” x 15.5”

$800-1,200 Provenance: Eleanor Chatman, Chicago, Illinois

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MONNEWE MONCREY WYNN (1900-1981)

Born in St. Louis to parents of Creole descent, Monnewe Moncrey Wynn was known for painting vivid crowds of people and religious subject matter, especially missionaries, whom she painted as African American despite the common contention that they were white. She tended to use her own daughters as models for her paintings, including Cake Walk. Wynn exhibited at the Urban League, the Public Library and City Art Museum. Wynn was also involved in the Peopleâ&#x20AC;&#x2122;s Art Center, an organization founded in 1942 with the help of a WPA grant that served as the first integrated community arts center in St. Louis. Her painting, Puttinâ&#x20AC;&#x2122; on the Robes, is a part of the collection of the Missouri History Museum, St. Louis.

This painting, titled Negro Baptism, is also in the permanent collection of the Missouri History Museum.

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638 CAKEWALK c. 1941 oil on board identified by two labels on verso, with artist’s name, address and title 36” x 22” $5,000-7,000 Exhibitions: Start to Finish: Work by a Group of Women Painters of St. Louis, held at the City Art Museum of St. Louis, September 7-29, 1941. Work by Negro Artists of St. Louis, Urban League (St Louis Art Museum, Dec. 1-31, 1941)

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TREADWAY TOOMEY AUCTIONS • CHICAGO TYLER FINE ART • ST. LOUIS