Early 20th Century & Harlem Renaissance

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Lot 1
GRAFTON TYLER BROWN (1841 - 1918)
Untitled (Sailboat on a Mountain Lake).

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Lot 2
HENRY OSSAWA TANNER (1859 - 1937)
Gate of Tangier.

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Lot 3
HENRY OSSAWA TANNER (1859 - 1937)
Mosque, Tangier.

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Lot 4
JAMES VANDERZEE (1886 - 1983)
Mrs. Turner, Lenox, Mass.

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Lot 5
JAMES VANDERZEE (1886 - 1983)
The VanDerZee Men, Lenox, Mass.

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Lot 6
JAMES VANDERZEE (1886 - 1983)
Marcus Garvey and Garvey Militia, Harlem.

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Lot 7
JAMES VANDERZEE (1886 - 1983)
Nude, Harlem.

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Lot 8
JAMES A. PORTER (1905 - 1970)
Untitled (Male Nude).

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Lot 9
JOHN HAROLD DEVON ROBINSON (1895 - 1970)
Untitled (Brooklyn Bridge).

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Lot 10
AARON DOUGLAS (1899 - 1979)
Head of Boy (Portrait of Langston Hughes).

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Lot 11
JAMES LESESNE WELLS (1902 - 1992)
Circus.

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Lot 12
JAMES LESESNE WELLS (1902 - 1992)
Untitled (Worship with Masks).

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Lot 13
JAMES LESESNE WELLS (1902 - 1992)
Untitled (African Fetish).

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Lot 14
NORMAN LEWIS (1917 - 1979)
Untitled (Bangwa Queen).

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Lot 15
JAMES VANDERZEE (1886 - 1983)
Untitled (Interior of a Harlem Brownstone).

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Lot 16
JAMES A. PORTER (1905 - 1970)
Lynching.

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Lot 17
CHARLES WHITE (1918 - 1979)
Head of Man - Version II (Diego Rivera).

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Lot 18
CHARLES WHITE (1918-1979)
Musician with Guitar.

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Lot 19
NORMAN LEWIS (1909 - 1979)
Two Barns.

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Lot 20
JOHN WESLEY HARDRICK (1891 - 1968)
Untitled (Winter Landscape).

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Lot 21
RICHMOND BARTHÉ (1901 - 1989)
African Boy Dancing.

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Lot 22
RICHMOND BARTHÉ (1901 - 1989)
Stevedore.

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Lot 23
RICHMOND BARTHÉ (1901 - 1989)
Head of a Dancer (Harald Kreutzberg).

Modernism

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Lot 24
NORMAN LEWIS (1917 - 1979)
Untitled (Sheet of Studies).

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Lot 25
NORMAN LEWIS (1909 - 1979)
Untitled (Figure Study).

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Lot 26
NORMAN LEWIS (1917 - 1979)
Untitled (Female Nude).

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Lot 27
NORMAN LEWIS (1917 - 1979)
Untitled (Female Nude).

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Lot 28
JOSEPH DELANEY (1904 - 1991)
Artist’s Studio Party.

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Lot 29
CLAUDE CLARK (1915 - 2001)
Conversations.

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Lot 30
CLAUDE CLARK (1915 - 2001)
Drill Press.

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Lot 31
NORMAN LEWIS (1909 - 1979)
Comrades.

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Lot 32
ALLAN ROHAN CRITE (1910 - 2007)
Et verbum caro factum est, et habitávit in nobis, et vídimus glóriam eius.

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Lot 33
MARGARET BURROUGHS (1917 - 2010)
Untitled (Portait of a Young Woman).

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Lot 34
JAMES A. PORTER (1905 - 1970)
Child Reading.

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Lot 35
ROBERT NEAL (1916 - 1987)
Untitled (Dock Scene).

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Lot 36
FRED JONES (1914 - 2004)
Untitled (Circus Performers with Horse).

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Lot 37
HAYWARD OUBRE (1916 - 2006)
Entanglement.

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Lot 38
ELIZABETH CATLETT (1915 - 2012)
Pensive.

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Lot 39
CHARLES WHITE (1918 - 1979)
John Brown.

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Lot 40
MARGARET BURROUGHS (1917 - 2010)
Faces.

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Lot 41
HARTWELL YEARGANS (1915 - 2005)
Untitled (Two Women).

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Lot 42
CHARLES MCGEE (1924 - 2021)
Untitled (Still Life).

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Lot 43
AARON DOUGLAS (1899 - 1979)
Oak Bluffs (Vineyard Haven).

Postwar Art

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Lot 44
WALTER AUGUSTUS SIMON (1916 - 1979)
Untitled (Study in Brown).

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Lot 45
WALTER AUGUSTUS SIMON (1916 - 1979)
Untitled (Study in Grey).

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Lot 46
CHARLES ALSTON (1907 - 1977)
City at Night.

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Lot 47
CHARLES ALSTON (1907 - 1977)
Untitled (Head of a Girl).

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Lot 48
CHARLES ALSTON (1907 - 1977)
Untitled.

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Lot 49
HAYWARD OUBRE (1916 - 2006)
Portrait of a Bird.

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Lot 50
EARL HOOKS (1927 - 2005)
Vessel.

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Lot 51
EARL HOOKS (1927 - 2005)
Study for Ceramic Sculpture.

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Lot 52
WALTER SANFORD (1912 - 1987)
Untitled (Modernist Figure).

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Lot 53
SAM MIDDLETON (1927 - 2015)
Untitled.

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Lot 54
SAM MIDDLETON (1927 - 2015)
Untitled.

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Lot 55
SAM MIDDLETON (1927 - 2015)
Shinkichi Tajiri.

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Lot 56
IRENE V. CLARK (1927 - 1984)
Untitled (Head of an African Man).

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Lot 57
IRENE V. CLARK (1927 - 1984)
Untitled (African Huts).

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Lot 58
ROBERT NEAL (1916 - 1987)
Untitled (Winter Landscape).

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Lot 59
MERTON D. SIMPSON (1928 - 2013)
Untitled (Abstract Seascape).

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Lot 60
SAMELLA LEWIS (1924 - )
Mr. and Mrs.

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Lot 61
SAMELLA LEWIS (1924 - )
Migrants.

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Lot 62
SAMELLA LEWIS (1924 - )
Children's Game II.

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Lot 63
SAMELLA LEWIS (1924 - )
Sunrise.

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Lot 64
EARL BEAUFORD MILLER (1930 - 2003)
African Flyer.

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Lot 65
SAM GILLIAM (1933 - )
Toyopet I.

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Lot 66
HALE WOODRUFF (1901 - 1979)
Primordial Landscape.

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Lot 67
BEAUFORD DELANEY (1901 - 1979)
Untitled (African Figure).

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Lot 68
ALMA W. THOMAS (1891 - 1978)
My Fall Garden.

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Lot 69
ALMA W. THOMAS (1891 - 1978)
Untitled (Garden Composition).

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Lot 70
ROMARE BEARDEN (1911 - 1988)
Martin Luther King, Jr. - Mountain Top.

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Lot 71
ROBERT A. SENGSTACKE (1943 - 2017)
Inauguration of Richard Hatcher.

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Lot 72
ELIZABETH CATLETT (1915 - 2012)
Negro es Bello (Black is Beautiful).

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Lot 73
ELIZABETH CATLETT (1915 - 2012)
Torture of Mothers.

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Lot 74
LEV MILLS (1938 - )
Gemini II.

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Lot 75
CLEVELAND BELLOW (1946 - 2009)
Catch a Southern Beauty.

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Lot 76
DINDGA MCCANNON (1947 - )
Untitled (Three Women).

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Lot 77
VINCENT SMITH (1929 - 2003)
The Couple.

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Lot 78
ROMARE BEARDEN (1911 - 1988)
Mother and Child.

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Lot 79
ROMARE BEARDEN (1911- 1988)
Untitled (Street Scene).

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Lot 80
ROMARE BEARDEN (1911 - 1988)
Girl in a Garden.

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Lot 81
ROMARE BEARDEN (1911 - 1988)
Before the First Whistle (Early Morning).

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Lot 82
ROMARE BEARDEN (1911 - 1988)
Tropical Flowers.

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Lot 83
EMILIO CRUZ (1938 - 2004)
Untitled.

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Lot 84
BARBARA JONES-HOGU (1938 - 2017)
Land Where My Father Died.

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Lot 85
WADSWORTH JARRELL (1929 - )
Revolutionary.

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Lot 86
NELSON STEVENS (1938 - )
Yes, We Will.

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Lot 87
SHERMAN BECK (1942 - )
Untitled.

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Lot 88
GERALD WILLIAMS (1941 - )
Big Payback, Get Ready.

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Lot 89
GERALD WILLIAMS (1941 - )
Create.

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Lot 90
JOHN WHITMORE (1948 - )
Sleep.

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Lot 91
CHARLES WHITE (1918 - 1979)
Blues.

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Lot 92
CHARLES WHITE (1918 - 1979)
Pope X.

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Lot 93
JOHN WILSON (1922 - 2015)
Street Children.

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Lot 94
WALTER H. WILLIAMS (1920 - 1998)
Butterflies.

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Lot 95
WALTER H. WILLIAMS (1920 - 1998)
Summer.

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Lot 96
WALTER H. WILLIAMS (1920 - 1998)
Summer No. 2.

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Lot 97
ARTHUR ROLAND (1935 - 2019)
The Conversation.

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Lot 98
JACOB LAWRENCE (1917 - 2000)
The Builders (The Family).

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Lot 99
JACOB LAWRENCE (1917 - 2000)
Morning Still Life.

Collection of the Ness Oleson Trust

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Lot 100
ALLAN ROHAN CRITE (1910 - 2007)
Our Lady of the Neighborhood.

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Lot 101
BEAUFORD DELANEY (1901 - 1979)
Untitled (Tent Interior).

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Lot 102
ELDER R. CLARK
Untitled (The Eldorado, Daddy Grace)

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Lot 103
REX GORELEIGH (1902 - 1986)
Alain Locke.

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Lot 104
TOM FEELINGS (1933 - 2003)
Untitled (Young Boy).

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Lot 105
RICHARD YARDE (1939 - 2011)
Untitled (Yellow Wallpaper).

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Lot 106
RICHARD YARDE (1939 - 2011)
Untitled.

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Lot 107
RALPH C. HAMM III (1950 - )
I and I.

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Lot 108
MOSE ERNEST TOLLIVER (1920 - 2006)
Untitled (Figure).

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Lot 109
WINFRED REMBERT (1945 - 2021)
Dolls Head Baseball.

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Lot 110
WINFRED REMBERT (1945 - 2021)
Inside Jeff's Cafe.

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Lot 111
WINFRED REMBERT (1945 - 2021)
Untitled (Classroom Scene).

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Lot 112
WINFRED REMBERT (1945 - 2021)
Untitled.

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Lot 113
WILLIE MASSEY (1906 - 1990)
Untitled (Airplane).

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Lot 114
MOSE ERNEST TOLLIVER (1920 - 2006)
Untitled (Birdhouse).

20th Century Contemporary

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Lot 115
FREDERICK EVERSLEY (1941- )
Untitled.

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Lot 116
WILLIAM T. WILLIAMS (1942 - )
HKL Portfolio.

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Lot 117
NORMAN LEWIS (1909 - 1979)
Untitled (Abstraction in Red and Blue).

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Lot 118
ROBERT JAMES REED, JR. (1938 - 2015)
Plum Nellie - Norfolk Suite.

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Lot 119
ED CLARK (1926 - 2019)
Untitled (Yucatan Series).

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Lot 120
MCARTHUR BINION (1946 - )
Untitled.

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Lot 121
SAM GILLIAM (1933 - )
Buoy Landscape III, IV, and V.

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Lot 122
HOWARDENA PINDELL (1943- )
Oval Memory Series: (Rhinoceros) Heaven.

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Lot 123
DELILAH W. PIERCE (1904 - 1992)
Nebulae Patterns, #2.

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Lot 124
WILLIE WAYNE YOUNG (1942 - )
Untitled.

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Lot 125
WILLIE WAYNE YOUNG (1942 - )
Untitled.

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Lot 126
BETYE SAAR (1926 - )
Keep for Old Memoirs.

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Lot 127
DINDGA MCCANNON (1947 - )
International Benin Awards 1979.

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Lot 128
EMMA AMOS (1938 - 2020)
Woman with Hat.

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Lot 129
ERNEST CRICHLOW (1914 - 2005)
Young Lady in Yellow Dress.

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Lot 130
LOUIS DELSARTE (1944 - 2020)
Josephine Baker.

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Lot 131
ROMARE BEARDEN (1911 - 1988)
Out Chorus.

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Lot 132
ROMARE BEARDEN (1911 - 1988)
Tenor Sermon.

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Lot 133
DINDGA MCCANNON (1947 - )
Black Family.

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Lot 134
ROMARE BEARDEN (1911 - 1988)
Family (Mother and Child).

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Lot 135
ROMARE BEARDEN (1911 - 1988)
Firebirds.

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Lot 136
ROMARE BEARDEN (1911 - 1988)
Autumn of the Rooster.

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Lot 137
ROMARE BEARDEN (1911 - 1988)
Obeah Woman with her daughter (La Sorcière avec sa fille)..

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Lot 138
ROMARE BEARDEN (1911 - 1988)
Caribbean Landscape.

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Lot 139
LOÏS MAILOU JONES (1905 - 1998)
Untitled (Haitian Landscape).

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Lot 140
HUGHIE LEE-SMITH (1915 - 1999)
The Balance.

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Lot 141
ELIZABETH CATLETT (1915 - 2012)
Standing Mother and Child.

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Lot 142
ELIZABETH CATLETT (1915 - 2012)
Survivor.

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Lot 143
ELIZABETH CATLETT (1915 - 2012)
Blues.

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Lot 144
ELIZABETH CATLETT (1915 - 2012)
On The Subway.

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Lot 145
JOHN BIGGERS (1924 - 2001)
Black Family (Family of Six).

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Lot 146
FRANK W. WIMBERLEY (1926 - )
Blue Edge.

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Lot 147
SAM GILLIAM (1933 - )
In Celebration.

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Lot 148
ED CLARK (1926 - 2019 )
Untitled (Bahia Series).

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Lot 149
SAM MIDDLETON (1927 - 2015)
Violin Strings.

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Lot 150
HOWARDENA PINDELL (1943 - )
Flight/Fields.

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Lot 151
FRANK W. WIMBERLEY (1926 - )
Rouge.

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Lot 152
SAM GILLIAM (1933 - )
Lightning Bolt.

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Lot 153
HUGHIE LEE-SMITH (1915 - 1999)
Promise.

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Lot 154
HUGHIE LEE-SMITH (1915 - 1999)
Untitled (Man with Target on Shirt).

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Lot 155
HUGHIE LEE-SMITH (1915 - 1999)
Untitled (Five on the Beach).

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Lot 156
HUGHIE LEE-SMITH (1915 - 1999)
Untitled (Two Abstract Masks and Screen).

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Lot 157
JACOB LAWRENCE (1917 - 2000)
The First Book of Moses Called Genesis.

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Lot 158
CARRIE MAE WEEMS (1953 - )
High Yella Girl.

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Lot 159
ELIZABETH CATLETT (1915 - 2012)
A Second Generation.

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Lot 160
BETYE SAAR (1926 - )
Return to Dreamtime.

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Lot 161
BETYE SAAR (1926 - )
Hoo Doo #19.

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Lot 162
BETYE SAAR (1926 - )
Sojourn.

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Lot 163
JONATHAN GREEN (1955 - )
Father and Son.

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Lot 164
RONALD ADAMS (1934 - )
Endangered Species.

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Lot 165
LOUIS DELSARTE (1944 - 2020)
The Dance.

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Lot 166
VARNETTE P. HONEYWOOD (1950 - 2010)
Untitled (Uncle).

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Lot 167
FAITH RINGGOLD (1930 - )
Groovin' High.

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Lot 168
SAMELLA LEWIS (1924 - )
Cleo

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Lot 169
DAVID HAMMONS (1943 - )
The Man Nobody Killed.

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Lot 170
DAWOUD BEY (1953 - )
Damian.

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Lot 171
KERRY JAMES MARSHALL (1955 - )
Brownie.

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Lot 172
KARA WALKER (1969 - )
Untitled (Lincoln).

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Lot 173
KARA WALKER (1969 - )
Freedom, A Fable: A Curious Interpretation of the Wit of a Negress in Troubled Times.

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Lot 174
KARA WALKER (1969 - )
The Emancipation Approximation (Scene #26).

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Lot 175
KEHINDE WILEY (1977 - )
Untitled (Self-Portrait).

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Lot 176
MELVIN EDWARDS (1937 - )
Untitled (Self-Portrait).

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Lot 177
EVANGELINE J. MONTGOMERY (1930 - )
Sunset.

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Lot 178
ELLEN GALLAGHER (1965 - )
Untitled.

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Lot 179
SAM GILLIAM (1933 - )
Richer Scene.

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Lot 180
SAM GILLIAM (1933 - )
Untitled (Trio).

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Lot 181
ALVIN D. LOVING, JR. (1935 - 2005)
Mara, Mara.

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Lot 182
LOÏS MAILOU JONES (1905-1998)
Veve Vodou III.

21st Century Contemporary

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Lot 183
VICTOR DAVSON (1948 - )
Bad Cow Comin' (Remember Martin Carter).

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Lot 184
RASHID JOHNSON (1977 - )
Beans.

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Lot 185
BARKLEY L. HENDRICKS (1945 - 2017)
YS Falls #41.

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Lot 186
LEROY W. ALLEN (1958 - 2007)
Sun Drops.

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Lot 187
DAWOUD BEY (1953- )
A Girl in Hyde Park, Chicago.

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Lot 188
RICHARD WYATT, JR. (1955- )
Don't F... With Me Today.

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Lot 189
FAITH RINGGOLD (1930 - )
Somebody Stole My Broken Heart.

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Lot 190
FAITH RINGGOLD (1930 - )
Aunt Emmy.

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Lot 191
FAITH RINGGOLD (1930 - )
Under a Blood Red Sky, # 7.

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Lot 192
FAITH RINGGOLD (1930 - )
To Be Or Not To Be Free.

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Lot 193
ELIZABETH CATLETT (1915 - 2012)
Mimi.

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Lot 194
DAVID C. DRISKELL (1931 - 2020)
The Bassist.

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Lot 195
DAVID C. DRISKELL (1931 - 2020)
Her Hat was Her Halo.

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Lot 196
DAVID C. DRISKELL (1931 - 2020)
Chieftain's Choice.

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Lot 197
WOSENE WORKE KOSROF (1950 - )
Word Play XVIII.

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Lot 198
BISA BUTLER (1973 - )
Nandi and Natalie (Friends).

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Lot 199
DEANA LAWSON (1979 - )
Coulson Family.

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Lot 200
AARON FOWLER (1988 - )
Untitled (Storefront Landscape).

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Lot 201
LARRY WALKER (1935 - )
Quote the Raven and Other Wall Spirits.

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Lot 202
DANNY SIMMONS (1954 - )
Miles to Go B4 I Sleep.

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Lot 203
SIR FRANK BOWLING, OBE RA (1934 - )
Ahaahead!

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Lot 204
JULIE MEHRETU (1970 - )
Untitled (Pulse).

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Lot 205
ADAM PENDLETON (1984 - )
Title TK.

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Lot 206
LYNETTE YIADOM-BOAKYE (1977 -)
Siskin.

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Lot 207
BEVERLY MCIVER (1962 - )
Pretty is...a Little Black Girl.

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Lot 208
VANESSA GERMAN (1976 - )
You Bring Out the Savage in Me #1.

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Lot 209
NELSON STEVENS (1938 - )
Spirit Sister.

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Lot 210
CARRIE MAE WEEMS (1953 - )
When and Where I Enter—Mussolini’s Rome.

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Lot 211
LATOYA RUBY FRAZIER (1982- )
Holding flag laying at the edge of Pier 54 and the Hudson River.

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Lot 212
CARRIE MAE WEEMS (1953 - )
Untitled (Listening Devices).

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Lot 213
CARRIE MAE WEEMS (1953 - )
All the Boys.

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Lot 214
STEVE A. PRINCE (1968 - )
Rosa Sparks.

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Lot 215
DINDGA MCCANNON (1947 - )
Mary Lou Williams, Jazz Pianist.

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Lot 216
DAVID ANTONIO CRUZ (1974 - )
Whenitallreturns.

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Lot 217
WILLIE COLE (1955 - )
Steamed Man.

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Lot 218
WILLIE COLE (1955 - )
Scorch Nation Spirit.

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Lot 219
RASHID JOHNSON (1977 - )
Untitled.

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Lot 220
TYRONE GETER (1945 - )
Where Are All the Girls?

African American Art

Officers

Corey Serrant, Administrator

Corey Serrant
Administrator

cserrant@swangalleries.com
(212) 254-4710 ext. 29
Nigel Freeman, Vice President & Director, African American Art

Nigel Freeman
Vice President & Director, African American Art

nfreeman@swanngalleries.com
212 254 4710 ext. 33

George S. Lowry
Chairman



Nicholas D. Lowry
President, Principal Auctioneer

924899

Andrew M. Ansorge
Vice President & Controller

Alexandra Mann-Nelson
Chief Marketing Officer

1234567

Todd Weyman
Vice President & Director, Prints & Drawings

2345678

Nigel Freeman
Vice President & Director, African American Art

Rick Stattler
Vice President & Director, Books & Manuscripts

Administration

Andrew M. Ansorge
Vice President & Controller

aansorge@swanngalleries.com

Ariel Kim
Client Accounting

akim@swanngalleries.com

Diana Gibaldi
Operations Manager

diana@swanngalleries.com

Bette Rothstein
Art Director

better@swanngalleries.com

Kelsie Jankowski
Public Relations Associate

kjankowski@swanngalleries.com

Shannon Licitra
Shipping

slicitra@swanngalleries.com

Early 20th Century & Harlem Renaissance

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1

GRAFTON TYLER BROWN (1841 - 1918)
Untitled (Sailboat on a Mountain Lake).

Oil on linen canvas, 1891. 305x457 mm; 12x18 inches. Signed and dated in oil, lower left.

This charming scene is an example of the early Western landscapes of Grafton Tyler Brown. Born in Harrisburg, PA to a family of freed slaves from Maryland, Brown's family moved to San Francisco in 1855. There Brown began working for the lithography firm of Kuchel & Dresel, specializing in drawing maps and bird's-eye views of cities and towns in Nevada and California. After the owners' death, Brown purchased the firm, renaming it G.T. Brown & Co., but he then sold the business in 1879 in order to devote his time to painting.

Brown moved to Victoria, BC, joining the Canadian government's geological survey of the Cascade Mountains in 1883. The following year he moved again, this time to Washington state, where he frequently painted Mt. Rainier. From 1886 to 1889, the artist had a studio and home in Portland, OR, where he was a member of the Portland Art Club. But by 1892, Brown was on the move again, relocating to St. Paul, MN, where he remained until his death in 1918. Today, his prized landscapes are found in institutional collections including the Smithsonian American Museum of Art and the National Museum of African American History and Culture, Washington, DC.

Provenance: private collection, Maryland, acquired at Clars Auction Gallery, April 17, 2016.

Estimate

$5,000 – $7,000

Request Condition Report
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2

HENRY OSSAWA TANNER (1859 - 1937)
Gate of Tangier.

Etching, circa 1910. 121x89 mm; 4¾x3½ inches, full margins. A posthumous printing.

A very good, dark impression, richly inked with dark edges.

Provenance: the estate of the artist; by descent, private collection, Paris; private collection.

Estimate

$2,000 – $3,000

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3

HENRY OSSAWA TANNER (1859 - 1937)
Mosque, Tangier.

Etching, circa 1912-14. 175x238 mm; 6 ⅞x9 ⅜ inches, full margins. A posthumous printing.

A very good, dark impression, richly inked with dark edges.

Provenance: the estate of the artist; by descent, private collection, Paris; private collection.

Estimate

$2,000 – $3,000

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4

JAMES VANDERZEE (1886 - 1983)
Mrs. Turner, Lenox, Mass.

Silver print, 1905. 178x140 mm; 7x5½ inches. Signed and numbered I and 70/75 in pencil on the mount. Printed and published by Richard Berson and Graphics International Ltd., Washington, DC in 1974. From Eighteen Photographs.

Estimate

$2,000 – $3,000

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5

JAMES VANDERZEE (1886 - 1983)
The VanDerZee Men, Lenox, Mass.

Silver print, 1908. 160x127 mm; 6 ⅜x5 inches. Signed and numbered III and 70/75 in pencil on the mount. Printed and published by Richard Berson and Graphics International Ltd., Washington, DC in 1974. From Eighteen Photographs.

Estimate

$3,000 – $5,000

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6

JAMES VANDERZEE (1886 - 1983)
Marcus Garvey and Garvey Militia, Harlem.

Silver print 1924. 247x196 mm; 9¾x7¾ inches. Signed, numbered VII and 70/75 in pencil on the mount. From Eighteen Photographs.

Estimate

$2,000 – $3,000

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7

JAMES VANDERZEE (1886 - 1983)
Nude, Harlem.

Silver print, 1923. 241x191 mm; 9½x7½ inches. Numbered 82/250 in pencil, on the verso. Posthumous printing, with the estate’s blind stamp, lower right.

Estimate

$3,000 – $5,000

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8

JAMES A. PORTER (1905 - 1970)
Untitled (Male Nude).

Charcoal on cream laid paper, 1925. 635x483 mm; 25x19 inches. Signed and dated "Oct. '25" in charcoal, lower right recto. With an unfinished figure drawing on the verso.

James A. Porter drew this academic figure study as an undergraduate student at Howard University. Porter entered Howard's School of Applied Sciences on an art scholarship in the fall of 1923, studied under the tutelage of James V. Herring, the founder of the university's new art department, and graduated in 1927.

Provenance: the artist; Dorothy Porter Walker; Constance Porter Uzelac; thence by descent to the current owner, private collection.

Estimate

$1,000 – $1,500

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9

JOHN HAROLD DEVON ROBINSON (1895 - 1970)
Untitled (Brooklyn Bridge).

Oil on linen canvas, 1925. 508x406 mm; 20x16 inches. Initialed and dated in oil, lower right.

This canvas is a very scarce painting by John Harold Devon or J. H. D. Robinson, whom little is known about today, but was fairly active during the Harlem Renaissance in New York. He exhibited paintings in two significant exhibitions of the 1930s - Exhibition of the Work of Negro Artists, Harmon Foundation, New York in February of 1931, and Paintings and Sculpture by American Negro Artists,the Renaissance Society, the University of Chicago in December of 1936. According to a brief biography found in the Negro Statistical Bulletin of 1935, issued by the Department of Commerce, Robinson studied at the Brooklyn Art School, the Art Students League under Thomas Hart Benton, New York University and the College Art Association. The biography adds that he painted four canvases under the P.W.A.P, and also exhibited at the 135th Street Branch of the New York Public Library and the Nicholas Roerich Museum, New York in 1934.

Provenance: private collection, Pennsylvania; the estate of Allan O. Hunter, Jr., acquired at Swann Galleries, October 4, 2018.

Estimate

$8,000 – $12,000

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10

AARON DOUGLAS (1899 - 1979)
Head of Boy (Portrait of Langston Hughes).

Woodcut on cream laid paper, circa 1926. 120x102 mm; 4¾x4 inches, 1/4 to 3/4- inch margins. Signed, titled and dated “1957” in pencil, lower margin. A later printing by the artist at Fisk University.

This extremely scarce print is a striking representation of a hero of the Harlem Renaissance by Aaron Douglas, a small portrait of the poet Langston Hughes as a young man. Another impression, titled Portrait of Langston Hughes, an unsigned proof, printed in brown and gold metallic ink, is in the collection of the Philadelphia Museum of Art. The museum also has Portrait of Countee Cullen, another very similar Douglas woodcut. Both date from the same year as the artist’s The Emporer Jones series of woodcuts. The artist later revisited these blocks, in addition to making new etchings like Window Shopper and The Junkman, after taking a printmaking class in the summer of 1955 taught by Walter Rogalksi at the Brookyln Museum Art School. Earle p. 221.

Estimate

$5,000 – $7,000

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11

JAMES LESESNE WELLS (1902 - 1992)
Circus.

Linoleum cut on cream thin Japan paper, circa 1928. 203x235 mm; 8x9¼ inches, full margins.

A scarce example of early printmaking from the Harlem Renaissance era by James Lesesne Wells.

Estimate

$2,000 – $3,000

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12

JAMES LESESNE WELLS (1902 - 1992)
Untitled (Worship with Masks).

Brush and ink on thin cream wove paper, mounted to mat board, circa 1929. 191x127 mm; 7½x5 inches.

This illustration by Wells is from a series of drawings of African sculptural subjects. We have not been able to locate any publication.

Provenance: private collection, New York.

Estimate

$3,000 – $5,000

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13

JAMES LESESNE WELLS (1902 - 1992)
Untitled (African Fetish).

Linoleum cut on tissue-thin Japan paper. circa 1929. 114x83 mm; 4½x3¼ wide margins.

This very scarce Harlem Renaissance print is a wonderful example of James Lesesne Wells’ block prints and his interest in the influence of African sculpture on modern art. Wells exhibited several simiilar prints in the Exhibition of the Work of Negro Arts at the Harmon Foundation in New York in 1931.

Estimate

$2,000 – $3,000

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14

NORMAN LEWIS (1917 - 1979)
Untitled (Bangwa Queen).

Color pastel on fine sandpaper, 1935. 508x355 mm; 22x15¼ inches. Signed and dated in pencil, lower right.

Norman Lewis drew this beautiful drawing after visiting the 1935 landmark exhibition African Negro Art at the Museum of Modern Art in New York. African Negro Art curated by James Johnson Sweeney, was intended to show modernism's roots in African Art. A photograph of the sculpture by Walker Evans, who was commissioned to document the large exhibition of over six hundred works, is included in the catalogue (fig. 319). The exhibiton had a profound effect on Lewis - he created a wonderful series of detailed and colorful pastel drawings of the sculptures he had seen.

This drawing is of an ancestral sculpture, a carved wood figure of a woman made by the Bangwa, a people indigenous to western Cameroon. Now best known as the Bangwa Queen, it is one of the most famous and important African sculptures. The sculpture was taken from the Bangwa by a German colonial agent before Germany had colonised the area. After being in the collection of the Museum für VölkerkundeIt in Berlin, it was sold privately to an art dealer in 1926 who then sold it to Helena Rubenstein in the 1930s who lent it to the MoMA exhibition. Collector Harry Franklin then acquired the sculpture from Rubenstein in 1966, and then his daughter sold the work for a record price at Sotheby's in 1990, where it was acquired by the Dapper Foundation in Paris. Man Ray took several photographs of the Bangwa Queen figure in 1934, including Surrealist images of it posed alongside a nude model.

The exhibition African Negro Art clearly resonated with Lewis and other African American artists of the Harlem Renaissance and were influenced by philosopher Alain Locke's exhortation to find artistic models in African art. In 1935, Lewis also joined the 306 group of writers and artists in Harlem who met in the studios of Henry Bannarn and Charles Alston, and was a founding member for the Harlem Artist Guild with Alston, Augusta Savage, Arthur Schomburg and Elba Lightfoot. The MoMA exhibition, which was on view from March 18 to May 19, attracted many artist visitors including Alston, Romare Bearden, and Gwendoline and Jacob Lawrence.

Other known examples of these extraordinary 1935 drawings include Baule Mask, Ivory Coast Baule Mask, Bobin (Boobin, Loom, Baule, Carved Bobbin (Guru) and Dan Mask, four of which were included in Procession, The Art of Norman Lewis, his 2015 retrospective curated by Ruth Fine, and Untitled (Head of a Mule, French Sudan), sold at Swann Galleries on December 10, 2020. Fine pp. 24-25, 248.

Provenance: private collection, Ohio.

Estimate

$25,000 – $35,000

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15

JAMES VANDERZEE (1886 - 1983)
Untitled (Interior of a Harlem Brownstone).

Silver print, 1931. 203x254 mm; 8x10 inches. Signed and inscribed “NYC 1931” by VanDerZee in the negative.

This early photograph of fine decor in a Harlem parlor shows how VanDerZee documented the homes, in addition to portraits, of the rising middle class in Harlem in the early 1930s. An almost identical photograph of the same interior, Interior of a Home, from a slightly different angle, is in the collection of the Studio Museum in Harlem.

Estimate

$1,500 – $2,500

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16

JAMES A. PORTER (1905 - 1970)
Lynching.

Brush, pen and ink on cream wove paper, circa 1933-34. 292x260 mm; 11½x10¼ inches. Initialed in ink, lower right.

This drawing is related to a smaller ink drawing by James A. Porter that illustrated the poem Blasphemy - American Style in the December 1934 issue of the magazine Opportunity, p. 368.

Provenance: the artist; Dorothy Porter Walker; Constance Porter Uzelac; thence by descent to the current owner, private collection, with the estate's labels on the verso.

Estimate

$2,000 – $3,000

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17

CHARLES WHITE (1918 - 1979)
Head of Man - Version II (Diego Rivera).

Crayon on thin, smooth wove paper, mounted to board, 1936. 305x254 mm; 12x10 inches. With the artist's estate signature ink stamp, lower right.

This fascinating portait of one of Charles White's heroes is one of the earliest known drawings by the artist to come to auction. Another, very similar version of this drawing of Diego Rivera was sold at Swann Galleries as lot 22 in African-American Fine Art auction on April 2, 2015, and is catalogued as D10 in Lucinda Gedeon's catalogue raisonné.

This early study was likely made just before or at the beginning of Charles White's study at the Art Institute of Chicago. White was determined to become an artist despite his family's tight finances, and early rejections from discriminatory art schools. White won a $240 scholarship to attend the Chicago Art Institute, entering in 1937. White completed the two year course in one year, despite often walking the 60 blocks home to save money and working as a cook and valet. Upon his graduation in 1938, he soon qualified to join the easel and mural divisions of the Federal Art Project in Illinois.

Diego Rivera's international fame and the rise of the Mexican muralists made a profound impact on Charles White and many other social realists' art work. In the mural divison of the FAP, White worked with muralists Mitchell Siporin and Edward Millman who both had assisted Rivera on murals in Mexico. Later in 1947, upon winning a Rosenwald scholarship to travel and study in Mexico, White met Diego Rivera and studied with David Alfaro Siqueiros at the Esmeralda Escuela del Arte and the Taller de Gráfica Popular in Mexico City. Curiously, despite a strong resemblance, an identification of Rivera was never made with this drawing.

Provenance: the estate of the artist; Heritage Gallery, Los Angeles, with the gallery label on the frame back; private collection, New York; thence by descent to a private collection, California.

Estimate

$10,000 – $15,000

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18

CHARLES WHITE (1918-1979)
Musician with Guitar.

Graphite and pencil on cream wove paper, circa 1937. 254x203 mm; 10x8 inches. With the artist's estate signature ink stamp, lower center edge.

This drawing is a page taken from one of the earliest sketch books of Charles White. White began his studies in the fall of 1937 at the School of the Art Institute of Chicago. Unbound pages from the artist's sketchbooks were sold by Heritage Gallery in Los Angeles when it represented the artist's estate.

Provenance: estate of the artist: Heritage Gallery, Los Angeles, with the gallery label on the frame back; private collection, New York (1995).

Estimate

$4,000 – $6,000

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19

NORMAN LEWIS (1909 - 1979)
Two Barns.

Watercolor on cream wove paper, 1937. 450x570 mm; 17¾x22¼ inches. Signed and dated in pencil, lower right.

Illustrated: Ruth Fine. The Art of Norman Lewis, fig. 16, p. 31.

In her retrospective catalogue essay The Spiritual in the Material, Ruth Fine wrote that Two Barns was one of the earliest dated watercolors by Norman Lewis - "one of several in this medium of urban and country scenes completed during the late 1930/early 1940s." Fine p. 31.

Provenance: private collection, New Jersey; private collection, North Carolina, acquired at Swann Galleries, February 14, 2013.

Estimate

$8,000 – $12,000

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20

JOHN WESLEY HARDRICK (1891 - 1968)
Untitled (Winter Landscape).

Oil on masonite board, 1937. 559x711 mm; 22x28 inches. Signed and dated in oil, lower left.


This winter river scene is an excellent example of the landscapes of John Wesley Hardrick. The Indianapolis artist spent his career in Indiana, painting lush landscapes, in addition to portraits and still lifes. Hardrick studied at the John Herron Art Institute until 1918, before fellow Indiana artists William Edouard Scott and Hale Woodruff enrolled. He later shared a studio with a young Woodruff in Indianapolis in 1924. Though Hardrick won the Harmon bronze (first place) medal in 1927, frequently exhibited at the Harmon Foundation, and was awarded a WPA mural commission, his work received little attention during his lifetime. Today, his paintings are in the collections of the Indianapolis Museum of Art, Indiana State Museum and Hampton University.

Provenance: private collection, Louisiana.

Estimate

$4,000 – $6,000

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Richmond Barthé in 1937

These three sculptures by Richmond Barthé (lots 21-23) display the work of an artist at the height of his career. Barthé was establishing himself as a leading American sculptor of the modern period with his new representation of the male figure – dynamic, muscular and black. His vision culminated in his mid-1930s series of African dancers, including the iconic Feral Benga. Barthé achieved new levels of naturalism in bronze as his passion for his subjects was perfectly matched with his superb technical skill. This was reinforced with the wide acclaim Barthé received for his figures, including African Boy Dancing, shown at the 1937 prestigious exhibition Dance International, 1900 – 1937 at the Rockefeller Center.

Carl Van Vechten, Richmond Barthé, September 23, 1939. Carl Van Vechten Papers, Beinecke Rare Book and Manuscript Library, Yale University. Used with permission of the Van Vechten Trust. ©Van Vechten Trust.

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21

RICHMOND BARTHÉ (1901 - 1989)
African Boy Dancing.

Cast bronze with a dark brown patina, 1937. Approximately 413 mm; 16¼ inches high. Incised with the artist's signature in the base. Cast by the Cellini Bronze Works, New York, with their stamp at the base rear edge.

Illustrated: Parnassus, Volume 12, Issue 3, 1940, (cast illustrated in the "collection of the artist"); Sculpture by Richmond Barthé, Harmon Foundation brochure, reproduced in Samella Lewis, Barthé: His Life in Art p. 68.

African Boy Dancing is an important and strikingly beautiful bronze by Richmond Barthé - representing the culmination of Richmond Barthé's significant study of the male figure in sculpture, anatomy and African dance in the 1930s, and his pioneering realization of an ideal male nude.

African Boy Dancing shares many of its defining characteristics with Barthé's iconic 1935 Feral Benga. Appearing grander than its actual height, this natural and sensual representation of the male figure was made at the height of the artist's career. This lithe dancing figure is also part of Barthé's groundbreaking evocation of both male and homosexual sexuality in early 20th century American Art. The modelling emphasizes the dancer's lean physique, while the pose conveys a fluid, rhythmic movement. When seen in the round, Barthé's technical expertise and attention to the totality of the figure is evident. Both figures also share a very expressive modelling and finish for cast bronze - Barthé's 1930s bronzes wonderfully convey much of the immediacy of his clay model.

African Boy Dancing is an extremely rare bronze. In 1937, six of Barthé's African dancer bronze figures, including African Boy Dancing, were shown in the prestigious month-long exhibition Dance International, 1900 - 1937 at the Rockefeller Center, New York, In 1939, the Barnett-Aden Gallery of Washington, DC also exhibited a cast of African Boy Dancing at Oberlin College. Another later cast of African Boy Dancing was included in the Landau traveling exhibition Richmond Barthé curated by Samella Lewis. This is only the second time that an original cast of a 1930s figure has appeared at auction; an early cast of An African Dancer, 1934, was sold at Bonham's, San Francisco in 2005. Several of Richmond Barthé's mid-career bronzes were cast at the Cellini Bronze Works in Brooklyn, New York: including An African Dancer and the The Boxer, 1942, in the collections of the Art Institute of Chicago and the Metropolitan Museum of Art.

Art historian and Barthé scholar Margaret Vendryes has written extensively on Barthe’s attention to detail:

“At the height of his career, Barthé took great pains with the finish of his sculpture. Foundry work received vigilant scrutiny to ensure that the bronze was chased to a seamless finish and read true to its original clay model. The traces of pulled and smoothed clay created with fingers and tools animate figures like Feral Benga and act as a road map of Barthé’s meticulous rendering methods. This practice also reflected his admiration for the late 19th century French master Auguste Rodin who left impressions on surfaces that are his signature.”

Provenance: David W. Prall (1886 - 1940); thence by descent to a private collection, MA.

Prall was an influential philosopher of art with a PhD in philosophy from the University of California, Berkeley. A Professor of Philosophy at Harvard University from 1920-21 and 1930-1940; he also taught also at Cornell University, the University of Texas, Amherst College and the University of California. While at Harvard, Prall was a teacher and mentor to composer and conductor Leonard Bernstein.

Estimate

$150,000 – $250,000

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22

RICHMOND BARTHÉ (1901 - 1989)
Stevedore.

Cast bronze with a dark brown patina on a green marble base, 1937. 778x508x368 mm; 30⅝x20x14½ inches (not including marble base). Cast in 1986 under the supervision of the artist and the Richmond Barthé Trust. Incised with artist's signature, date, numbered 3/8 and incised "©", right base edge.

This iconic work by Richmond Barthé is an important and large bronze by the artist made at the peak of his career. Margaret Vendryes describes this sculpture of muscular dock worker standing on a i-beam in great length - he is both "Barthé's most virile male figure" and "a personal statement". With the epitome of a chiseled physique and commanding presence, the figure of a longshoreman was elevated to great heights by the artist. Barthé had created both a new type of masculine presence in his oeuvre, and a new depiction of a powerful black man.

Stevedore was a non-commissioned work made from the artist's own funds. Vendryes describes how Barthé kept it out of storage and with him when he moved. He later gifted his cast to the St. Ann's Parish Public Library in Jamaica. This later cast has a longer rope that extends above the hand. This is only the second time a cast of Stevedore has come to auction: another was sold at Swann Galleries on October 15, 2017. Another example of this 1985 casting is the collection of the Museum of Fine Arts, Boston. Vendryes pp. 92-96.

Provenance: private collection, Los Angeles.

Estimate

$75,000 – $100,000

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23

RICHMOND BARTHÉ (1901 - 1989)
Head of a Dancer (Harald Kreutzberg).

Cast bronze, with a brown patina, mounted on a white marble base, 1937. Approximately 311 mm; 12¼ inches high (not including the base). A later casting, from an edition of 25. Signed, inscribed "xxx" and number stamped "25" along the upper edge, verso.

This contemplative but powerful head by Richmond Barthé is his well known portrait of the Czech-born German dancer Harald Kreutzberg (1902 - 1968). Kreutzberg is an important figure in German ballet and modern dance whom Richmond Barthé befriended when he performed in New York in the 1930s. Barthé made several sculptures of the expressive dancer in busts and figures. Barthé himself had studied Martha Graham dance techniques in an effort to more fully understand the movement and form of dancing figures.

A plaster cast of this head was exhibited and illustrated in the 1974 Anacostia Museum catalogue The Barnett-Aden Collection. A similar bronze casting, the same size as this head, is illustrated in the 1995 The Catalogue of the Barnett-Aden Collection and dated "circa 1973." Other bronze casts of this head are in the collection of the National Portrait Gallery, the David C. Driskell Collection, the Walter O. Evans Collection of African American Art at the Savannah College of Art and Design, and the Kinsey Collection of African-American Art and History. Kinard p. 40; Auzenne, p. 42.

Provenance: private collection, Washington, DC; the estate of Allan O. Hunter, Jr., acquired at Swann Galleries, October 4, 2018.

Estimate

$20,000 – $30,000

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Modernism

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24

NORMAN LEWIS (1917 - 1979)
Untitled (Sheet of Studies).

Pen and ink and pencil on cream wove paper, circa 1940s. 508x660 mm; 20x26 inches (sheet). Inscribed "The truth is always vulgar! a mosaic of living things" in pencil, lower left.

This unusually large sheet of paper for sketching by Norman Lewis includes a variety of figurative studies and doodles. The sheet of paper has the printed Inkweed Arts illustrations on the verso, found on many Lewis works on paper through the 1950s.

Provenance: private collection, Louisiana.

Estimate

$5,000 – $7,000

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25

NORMAN LEWIS (1909 - 1979)
Untitled (Figure Study).

Pen and ink on thin buff wove paper, circa 1940s. 184x122 mm; 7¼x4⅞ inches.

Provenance: the estate of the artist; Bill Hodges Gallery, New York, with the gallery label on the frame back; private collection.

Estimate

$1,500 – $2,500

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