19th Century & Harlem Renaissance

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Lot 1
HENRY OSSAWA TANNER (1859 - 1937)
Head of a Sheep.

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Lot 2
EDWARD M. BANNISTER (1828 - 1901)
Crossing the Bridge before Sunset.

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Lot 3
JAMES BOLIVAR NEEDHAM (1850 - 1931)
Untitled (Chicago River Scene).

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Lot 4
WILLIAM A. HARPER (1873 - 1910)
Untitled (Landscape).

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Lot 5
JAMES VANDERZEE (1886 -1983)
Shoe Store Salesman and Customer.

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Lot 6
JAMES VANDERZEE (1886 - 1983)
Untitled (Portrait of a Boy in a Sailor Suit).

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Lot 7
JAMES VANDERZEE (1886 - 1983)
Eighteen Photographs.

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Lot 8
JAMES VANDERZEE (1886 - 1983)
Swimming Team.

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Lot 9
JAMES VANDERZEE (1886 - 1983)
Wedding Day, Harlem.

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Lot 10
JAMES VANDERZEE (1886 - 1983)
Untitled (Woman in Fur Holding Cat).

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Lot 11
RICHMOND BARTHÉ (1901 - 1989)
Feral Benga.

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Lot 12
RICHMOND BARTHÉ (1901 - 1989)
Head of a Dancer (Harald Kreutzberg).

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Lot 13
JAMES LESESNE WELLS (1902 - 1992)
Group of 5 linoleum cuts.

Modern Art

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Lot 14
ALLAN ROHAN CRITE (1910 - 2007)
Way Down in Egypt's Land.

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Lot 15
FREDERICK D. JONES (1914 - 2004)
Go Down Moses.

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Lot 16
LOÏS MAILOU JONES (1905 - 1998)
Untitled (Street Scene in Cabris).

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Lot 17
CLAUDE CLARK (1915 - 2001)
Three Men.

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Lot 18
WILLIAM E. SMITH (1913-1997)
War Fatigue.

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Lot 19
CLAUDE CLARK (1915 - 2001)
Medal of Honor.

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Lot 20
JOHN N. ROBINSON (1912 - 1994)
A Black Man at the White House.

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Lot 21
GORDON PARKS (1912 - 2006)
American Gothic, Washington, D.C.

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Lot 22
NORMAN LEWIS (1909 - 1979)
Untitled (New York Park Crowd).

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Lot 23
HENRY W. BANNARN (1910 - 1965)
Rowhouses, Charleston, SC.

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Lot 24
HALE WOODRUFF (1900 - 1980)
Untitled (Georgia Landscape).

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Lot 25
CHARLES ALSTON (1907 - 1977)
Santa Ana Winds, Ariz. (Arizona).

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Lot 26
LOÏS MAILOU JONES (1905 - 1998)
Untitled (Geraniums).

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Lot 27
CLAUDE CLARK (1915 - 2001)
The Plow.

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Lot 28
ELIZABETH CATLETT (1915 - 2012)
Head.

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Lot 29
CHARLES WHITE (1918 - 1979)
Joven (Youth).

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Lot 30
HUGHIE LEE-SMITH (1915 - 1999)
Untitled (Portrait of a Young Girl).

Postwar Art

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Lot 31
NORMAN LEWIS (1909 - 1979)
Untitled (Figure Study).

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Lot 32
NORMAN LEWIS (1909 - 1979)
Untitled (Three Figures).

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Lot 33
NORMAN LEWIS (1909 - 1979)
Untitled (Gate Composition).

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Lot 34
NORMAN LEWIS (1909 - 1979)
Untitled (Procession Composition).

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Lot 35
NORMAN LEWIS (1909 - 1979)
Untitled.

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Lot 36
ROBERT BLACKBURN (1920 - 2003)
Untitled (Reclining Nude).

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Lot 37
JOHN WOODROW WILSON (1922 - 2015)
Green Checked Table Cloth.

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Lot 38
MERTON D. SIMPSON (1928 - 2013)
Untitled (Portrait of a Young Woman).

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Lot 39
CHARLES WHITE (1918 - 1979)
Gideon.

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Lot 40
MARGARET BURROUGHS (1917 - 2010)
Sojourner Truth.

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Lot 41
ROY DECARAVA (1919 - 2009)
Bass Player, Small's, New York.

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Lot 42
NORMAN LEWIS (1909 - 1979)
Untitled.

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Lot 43
CHARLES ALSTON (1907 - 1977)
Untitled.

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Lot 44
HALE WOODRUFF (1900 - 1980)
Carnival.

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Lot 45
WALTER H. WILLIAMS (1920 - 1998)
Sunflowers.

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Lot 46
WALTER H. WILLIAMS (1920 - 1998)
Marguerite.

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Lot 47
CALVIN BURNETT (1921 - 2007)
Edna.

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Lot 48
SAM MIDDLETON (1927 - 2015)
Sunken Meadow.

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Lot 49
EARL HOOKS (1927 - 2005)
Untitled (Five-footed Vase Form).

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Lot 50
CHARLES ALSTON (1907 - 1977)
Moon Haze (Standing in the Moonlight).

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Lot 51
NORMAN LEWIS (1909 - 1979)
Untitled (Abstraction.).

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Lot 52
ROBERT BLACKBURN (1920 - 2003)
Color Symphony.

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Lot 53
ROBERT BLACKBURN (1920 - 2003)
Untitled (14 x 14).

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Lot 54
ROBERT BLACKBURN (1920 - 2003)
Man in Top Hat.

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Lot 55
BOB THOMPSON (1937 - 1966)
Tree God.

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Lot 56
BOB THOMPSON (1937 - 1966)
Untitled (Blue Figure in Profile).

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Lot 57
BOB THOMPSON (1937 - 1966)
Winter.

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Lot 58
BOB THOMPSON (1937 - 1966)
The Ten Plagues.

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Lot 59
BOB THOMPSON (1937 - 1966)
Untitled (Study for Satyr Painting).

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Lot 60
PALMER HAYDEN (1890 - 1973)
Sardine Boats (of Concarneau).

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Lot 61
JAMES A. PORTER (1905 - 1970)
Seraphim and Cherubim, Lagos.

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Lot 62
JOHN WOODROW WILSON (1922 - 2015)
Untitled (Portrait of a Young Woman).

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Lot 63
CHARLES SEARLES (1937 - 2004)
Standing Woman.

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Lot 64
CHARLES SEARLES (1937 - 2004)
Untitled (Portrait of a Young Man).

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Lot 65
CARL RICHARD "DINGBAT" SMITH (1927 - 1980S)
Three Brothers.

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Lot 66
SAMELLA LEWIS (1924 - )
Migrants.

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Lot 67
BARBARA JONES-HOGU (1938 - 2017)
America III.

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Lot 68
BARBARA JONES-HOGU (1938 - 2017)
I'm Better Than These Motherfuckers and They Know It.

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Lot 69
TIMOTHY WASHINGTON (1946 - )
Triptych.

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Lot 70
LEV MILLS (1938 - 2021)
Gemini I.

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Lot 71
CHARLES WHITE (1981 - 1979)
Elijah.

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Lot 72
CHARLES WHITE (1918 - 1979)
Untitled (Study for Matriarch)

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Lot 73
RICHMOND BARTHÉ (1901 - 1989)
Black Majesty.

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Lot 74
NORMAN LEWIS (1917 - 1979)
Untitled.

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Lot 75
NORMAN LEWIS (1909 - 1979)
Untitled (Abstract Composition).

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Lot 76
SAM GILLIAM (1933 - )
Untitled (Abstraction with Silver).

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Lot 77
SAM GILLIAM (1933 - )
Untitled (Abstraction with Magenta).

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Lot 78
GLORIA R. BOHANON (1941 - )
Out of Reach.

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Lot 79
DAN CONCHOLAR (1939 - 2017)
Group of 4 untitled drawings (Organic Forms).

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Lot 80
BERNARD HARMON (1935 - 1989)
Untitled (Young Man and Woman in a Striped Dress).

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Lot 81
ALVIN C. HOLLINGSWORTH (1928 -2000)
Untitled (Angela Davis).

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Lot 82
DANA C. CHANDLER, JR. (1941 - )
Genocide Series No. 2, Lil Junkies Waiting on "Bro" Pusher.

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Lot 83
DINDGA MCCANNON (1947 - )
Disposessed!

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Lot 84
DINDGA MCCANNON (1947 - )
The Last Farewell.

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Lot 85
GERALD WILLIAMS (1941 - )
Wake Up.

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Lot 86
CASPER BANJO (1937 - 2008)
Self Portrait.

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Lot 87
ERNIE BARNES (1938 - 2009)
Loose Ball.

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Lot 88
ERNIE BARNES (1938 - 2009)
Untitled.

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Lot 89
JACOB LAWRENCE (1917 - 2000)
Olympic Games.

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Lot 90
ROMARE BEARDEN (1911 - 1988)
Ritual Bayou.

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Lot 91
ROMARE BEARDEN (1911 - 1988).
Tropical Flowers.

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Lot 92
ROMARE BEARDEN (1911 - 1988)
Sorcerer's Village (Sorcerer).

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Lot 93
ROMARE BEARDEN (1911 - 1988)
Mother and Child.

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Lot 94
JOHN WILSON (1922 - 2015)
Street Children.

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Lot 95
ROMARE BEARDEN (1911 - 1988)
Before the First Whistle (Early Morning).

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Lot 96
ROMARE BEARDEN (1911 - 1988)
Prevalence of Ritual.

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Lot 97
LOUIS B. SLOAN (1932 - 2008)
Untitled (Storm Approaching Shore).

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Lot 98
HUGHIE LEE-SMITH (1915 - 1999)
Untitled (Urban Landscape).

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Lot 99
HUGHIE LEE-SMITH (1915 - 1999)
Untitled (Still Life with Three Wine Bottles).

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Lot 100
HUGHIE LEE-SMITH (1915 - 1999)
Untitled (Still Life with Two Wine Bottles).

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Lot 101
HUGHIE LEE-SMITH (1915 - 1999)
Untitled (Still Life With Oranges).

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Lot 102
INGE HARDISON (1904 - 2016)
Untitled (Study for Sojourner Truth).

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Lot 103
INGE HARDISON (1904 - 2016)
Untitled (Mother and Child).

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Lot 104
ANTHONY BARBOZA (1944 - )
James Baldwin, Writer.

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Lot 105
GORDON PARKS (1912 - 2006)
Untitled (Self-Portrait).

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Lot 106
NORMAN LEWIS (1917 - 1979)
Untitled.

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Lot 107
NORMAN LEWIS (1917 - 1979)
Playtime.

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Lot 108
NORMAN LEWIS (1909 - 1979)
Getting It Together.

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Lot 109
HOWARDENA PINDELL (1943- )
Untitled #57.

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Lot 110
BETYE SAAR (1926 - )
Untitled.

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Lot 111
BENNY ANDREWS (1930 - 2006)
Top of the World.

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Lot 112
ELDZIER CORTOR (1916 - 2015)
Dance (Dance Composition No. 31).

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Lot 113
ROMARE BEARDEN (1911 - 1988)
The Lantern.

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Lot 114
ROMARE BEARDEN (1911 - 1988)
Morning.

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Lot 115
ROMARE BEARDEN (1911 - 1988)
Quilting Time.

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Lot 116
RICHARD HUNT (1935 - )
Spiral Figure, #2.

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Lot 117
SAM GILLIAM (1933 - )
G.D.S.

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Lot 118
ED CLARK (1926 - 2019)
Untitled.

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Lot 119
BARKLEY L. HENDRICKS (1945 - 2017)
Mount Mersey, St. Kitts, West Indies.

Brandywine Workshop & Archives Collection

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Lot 120
PAUL F. KEENE, JR. (1920 - 2009)
Late Summer Studio Window.

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Lot 121
CHARLES WHITE (1918 - 1979)
I Have A Dream Portfolio.

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Lot 122
LEON N. HICKS (1933 - )
New Faces: Series VII #1A.

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Lot 123
LEON N. HICKS (1933 - )
New Faces: Series IV #3.

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Lot 124
JOHN E. DOWELL, JR. (1941 - )
L.P.W.S. (Lines Played With Soul).

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Lot 125
STANLEY WHITNEY (1946 - )
Untitled #1.

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Lot 126
RICHARD HUNT (1935 - )
Untitled.

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Lot 127
RICHARD HUNT (1935 - )
Untitled.

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Lot 128
ELIZABETH CATLETT (1915 - 2012)
Blues.

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Lot 129
PAUL F. KEENE, JR. (1920 - 2009)
The Guitarist (Jazz Icon Series).

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Lot 130
BELKIS AYÓN (1967 - 1999)
Temores Infundados.

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Lot 131
BELKIS AYÓN (1967 - 1999)
Hay Que Tener Pacienca (You Have To Be Patient).

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Lot 132
CAMILLE BILLOPS (1933 - 2019)
KKK Boutique II.

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Lot 133
SAMELLA LEWIS (1924 - )
Together We Stand.

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Lot 134
JOHN T. SCOTT (1940 - 2007)
St. George.

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Lot 135
JOHN T. SCOTT (1940 - 2007)
Waiting at the Station.

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Lot 136
CURLEE RAVEN HOLTON (1951 - )
Quilt.

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Lot 137
EMMA AMOS (1938 - 2020)
How Time Flies.

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Lot 138
BENNY ANDREWS (1930 - 2006)
Untitled (Brown vs. Board of Education).

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Lot 139
DAVID C. DRISKELL (1931 - 2020)
The Bassist.

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Lot 140
RICHARD MAYHEW (1924 - )
Serenade.

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Lot 141
LOUIS DELSARTE (1944 - 2020)
Visions of the Future.

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Lot 142
FLOYD NEWSUM (1950 - )
Yellow Sky at Midnight.

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Lot 143
FLOYD NEWSUM (1950 - )
Dreams Beyond 3.

20th Century Contemporary

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Lot 144
STANLEY WHITNEY (1946 - )
Untitled.

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Lot 145
MCARTHUR BINION (1946 - )
Untitled.

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Lot 146
HOWARDENA PINDELL (1943 - )
Kyoto (Positive/Negative).

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Lot 147
DAVID DRISKELL (1931 - 2020)
The Ghost.

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Lot 148
ELIZABETH CATLETT (1915 - 2012)
Triangular Woman.

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Lot 149
ELIZABETH CATLETT (1915 - 2012)
Madonna.

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Lot 150
ROMARE BEARDEN (1911 - 1988)
Two Women.

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Lot 151
ROMARE BEARDEN (1911 - 1988)
Obeah Woman with her daughter (La Sorcière avec sa fille)..

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Lot 152
JACOB LAWRENCE (1917 - 2000)
Hiroshima.

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Lot 153
FAITH RINGGOLD (1930 - )
No More War.

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Lot 154
DAVID HAMMONS (1943 - )
The Man Nobody Killed.

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Lot 155
BARKLEY L. HENDRICKS (1945 - 2017)
Sacrifice of the Watermelon Virgin or Shirt Off Her Back.

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Lot 156
ROBERT NEAL (1916 - 1987)
Street People.

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Lot 157
ERNEST CRICHLOW (1914 - 2005)
Lady.

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Lot 158
SAM GILLIAM (1933 - )
Red Rouge.

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Lot 159
SAM GILLIAM (1933 - )
Pretty Boxes.

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Lot 160
WILLIAM T. WILLIAMS (1942 - )
Caravan.

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Lot 161
SAM MIDDLETON (1927 - 2015)
Composition.

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Lot 162
ANN TANKSLEY (1934 - )
Planting Seeds.

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Lot 163
JOHN BIGGERS (1924 - 2001)
Family Arc (Middle Panel).

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Lot 164
EMMA AMOS (1938 - 2020)
Polka Dots.

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Lot 165
ELIZABETH CATLETT (1915 - 2012)
All the People.

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Lot 166
HUGHIE LEE-SMITH (1915 - 1999)
Curtain Call.

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Lot 167
HUGHIE LEE-SMITH (1915 - 1999)
The Latecomer.

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Lot 168
HUGHIE LEE-SMITH (1915 - 1999)
Untitled (Portrait of a Woman).

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Lot 169
HUGHIE LEE-SMITH (1915 - 1999)
Untitled (Man Playing the Flute).

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Lot 170
JACOB LAWRENCE (1917 - 2000)
Contemplation.

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Lot 171
JACOB LAWRENCE (1917 - 2000)
St. Marc.

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Lot 172
JACOB LAWRENCE (1917 - 2000)
Artist in Studio (Studio).

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Lot 173
ELIZABETH CATLETT (1915 - 2012)
Nude Torso.

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Lot 174
ELIZABETH CATLETT (1915 - 2012)
The Immortal.

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Lot 175
LORNA SIMPSON (1960 - )
Untitled [What Should Fit Here Is An Oblique Story...].

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Lot 176
LYLE ASHTON HARRIS (1965 - )
Embrace.

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Lot 177
RENEE COX (1960 - )
Atlas.

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Lot 178
CARRIE MAE WEEMS (1953 - )
Untitled (See No Evil, Hear No Evil, Speak No Evil).

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Lot 179
FRED WILSON (1954 - )
Old Salem: A Family of Strangers.

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Lot 180
GLENN LIGON (1960 - )
Untitled (My Fear is Your Fear).

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Lot 181
KARA WALKER (1969 - )
Freedom, A Fable: A Curious Interpretation of the Wit of a Negress in Troubled Times.

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Lot 182
BETYE SAAR (1926 - )
Women with Flowers & Umbrella.

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Lot 183
EMMA AMOS (1938 - 2020)
On Top of the World.

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Lot 184
JONATHAN GREEN (1955 - )
Mullet Friday.

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Lot 185
JACOB LAWRENCE (1917 - 2000)
Play.

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Lot 186
WADSWORTH JARRELL (1929 - )
Lionel Hampton.

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Lot 187
WADSWORTH JARRELL (1929 - )
Little Jazz at the Strand.

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Lot 188
EVANGELINE J. MONTGOMERY (1930 - )
Sea Grass.

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Lot 189
MELVIN EDWARDS (1937 - )
Untitled.

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Lot 190
WOSENE WORKE KOSROF (1950 - )
Addis Zemen, II.

21st Century Contemporary

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Lot 191
ED CLARK (1926 - 2019)
Untitled.

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Lot 192
KENNETH VICTOR YOUNG (1933 - 2017)
Untitled.

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Lot 193
KENNETH VICTOR YOUNG (1933 - 2017)
After Monet, Water.

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Lot 194
SAM GILLIAM (1933 - )
Sam.

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Lot 195
SAM GILLIAM (1933 - )
Lincoln Center Festival.

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Lot 196
NOAH PURIFOY (1917 - 2004)
The Flag.

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Lot 197
ALVIN D. LOVING, JR. (1935 - 2005)
Mara A.

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Lot 198
ALVIN D. LOVING, JR. (1935 - 2005)
Mara, Mara.

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Lot 199
LOU STOVALL (1937 - )
The Sixth Movement II.

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Lot 200
SIR FRANK BOWLING, OBE RA (1934 - )
Mother Approaching Sixty.

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Lot 201
DAVID C. DRISKELL (1931 - 2020)
The Young Herbalist.

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Lot 202
JONATHAN GREEN (1955 - )
Ride.

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Lot 203
CARRIE MAE WEEMS (1953 - )
Untitled (Woman As Napoleon Riding Atop A Man).

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Lot 204
SIMONE LEIGH (1967 - )
Untitled (Vessel).

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Lot 205
GLENN LIGON (1960 - )
Boy on a Tire.

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Lot 206
ELIZABETH CATLETT (1915 - 2012)
Black Girl.

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Lot 207
ELIZABETH CATLETT (1915 - 2012)
Young Douglass.

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Lot 208
ELIZABETH CATLETT (1915 - 2012)
Gossip.

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Lot 209
FAITH RINGGOLD (1930 - )
Somebody Stole my Broken Heart.

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Lot 210
FAITH RINGGOLD (1930 - )
Aunt Emmy.

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Lot 211
FAITH RINGGOLD (1930 - )
Under a Blood Red Sky, # 7.

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Lot 212
BRETT COOK-DIZNEY (1968 - )
King and Shabazz.

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Lot 213
KEHINDE WILEY (1977 - )
St. Francis of Adelaide.

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Lot 214
FRED WILSON (1954 - )
X.

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Lot 215
LESLIE HEWITT (1977 - )
Riffs on Real Time (2 of 10).

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Lot 216
WHITFIELD LOVELL (1959 - )
Three drawings (Card Series).

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Lot 217
KORI NEWKIRK (1970 - )
Untitled (Male Head).

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Lot 218
ERIC MACK (1976 - )
OOT-1528.

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Lot 219
SAM GILLIAM (1933 - )
Seedling II.

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Lot 220
SIMONE LEIGH (1967 - )
Untitled.

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Lot 221
EMMA AMOS (1938 - 2020)
Toy Boy.

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Lot 222
FAITH RINGGOLD (1930 - )
Big Black.

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Lot 223
DERRICK ADAMS ( 1970 - )
Head Study (Figure plate No. 5)

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Lot 224
KERRY JAMES MARSHALL (1955 - )
Keeping the Culture.

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Lot 225
WILLIE COLE (1955 - )
The Ogun Sisters.

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Lot 226
MICHAEL A. CUMMINGS (1945 - )
Naomi Sims, Unforgettable.

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Lot 227
MICHAEL A. CUMMINGS (1945 - )
Obama vs. Romney.

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Lot 228
GLENN LIGON (1960 - )
Detail.

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Lot 229
DANNY SIMMONS (1953 - )
Confluence of Grievances.

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Lot 230
SHINIQUE SMITH (1971 - )
A Single Breath.

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Lot 231
VICTOR DAVSON (1948 - )
Flash.

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Lot 232
SANFORD BIGGERS (1970 - )
Untitled.

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Lot 233
STEVE A. PRINCE (1968 - )
Rosa Sparks.

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Lot 234
CARRIE MAE WEEMS (1953 - )
All the Boys.

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Lot 235
NONA FAUSTINE (1977 - )
Like a Pregnant Corpse The Ship Expelled Her Into The Patriarchy.

African American Art

Officers

Nigel Freeman, Vice President & Director, African American Art

Nigel Freeman
Vice President & Director, African American Art

nfreeman@swanngalleries.com
212 254 4710 ext. 33
Corey Serrant, Administrator

Corey Serrant
Administrator

cserrant@swangalleries.com
(212) 254-4710 ext. 29

George S. Lowry
Chairman



Nicholas D. Lowry
President, Principal Auctioneer

924899

Andrew M. Ansorge
Vice President & Controller

Alexandra Mann-Nelson
Chief Marketing Officer

2030704

Todd Weyman
Vice President & Director, Prints & Drawings

1214107

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 Coordinator

slicitra@swanngalleries.com

19th Century & Harlem Renaissance

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1

Henry ossawa tanner (1859 - 1937)
Head of a Sheep.

Oil on canvas, mounted on board, circa 1880-81. 248x229 mm; 9¾x9 inches. Signed in oil, lower left.

Provenance: the estate of the artist, with estate blue ink stamp and the ink signature of Jesse O. Tanner, on the frame back; Grand Central Art Galleries, New York, with the label on the frame back; the artist Harry Andrew Jackson; thence by descent, private collection, Wyoming.

Tanner painted Head of a Sheep early in his studies at the Pennsylvania Academy of the Fine Arts when he seized on the speciality of painting animals. With the support of his parents and inspiration from the 1876 Philadelphia Exposition, Henry Ossawa Tanner enrolled at the Academy in December of 1879. A year later he began life drawing classes under the tutelage of Thomas Eakins. After an interest in maritime painting, Tanner settled on painting animal subjects, with his stated desire “to become an American Landseer.” According to Anna O. Marley, “Tanner was so devoted to animal painting that he bought a sheep to serve as a model for his pastoral compositions.” This small study has clear ties in subject to Tanner’s 1881 Boy and Sheep Under a Tree. But its bold passages of painterly brushwork are closer to his naturalist study of lions, Pomp at the Zoo, circa 1880, and Lion Licking its Paw, 1886. Marley p. 19; Mosby pp. 74-75.

Estimate

$15,000 – $25,000

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2

Edward m. bannister (1828 - 1901)
Crossing the Bridge before Sunset.

Oil on linen canvas, 1893. 406x660 mm; 16x26 inches. Signed and dated in oil, lower right.

Provenance: Benjamin E. Perry; thence by descent, private collection, Connecticut.

Exhibited: Edward M. Bannister 1828 - 1901: A Centennial Retrospective, Roger King Gallery, Newport, RI, October 21 - November 30, 2001; Kenkeleba House, New York, NY, December 12, 2001 - February 9, 2002.

Illustrated: Corrine Jennings and Roger H. King, Jr. Edward M. Bannister 1828 - 1901: A Centennial Retrospective, p. 23.

This landscape is an excellent example of Edward M. Bannister's mature landscape painting, representing both the natural beauty of rural Rhode Island and man's place in it. Bannister began to explore more atmospheric and tonal painterly effects in his late 1880s and early 1890s landscapes. His Crossing the Bridge Before Sunset displays a beautiful overall golden hue and painterliness; the fading light of the day, filtered through an atmospheric sky, traverses a rich and verdant countryside. Bannister draws the viewer into the scene by placing the horse drawn cart moving into the center of the composition.

Estimate

$40,000 – $60,000

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3

James bolivar needham (1850 - 1931)
Untitled (Chicago River Scene).

Oil on linen canvas, mounted on wood panel, 1905. 191x254 mm; 7½x10 inches. Signed in oil, lower right recto. Inscribed within a diamond “7½x10 inches” and “55” and “1905” in blue paint on burlap mounted on the verso.

Provenance: the Center for African American Decorative Arts, Atlanta; private collection, New York.

This charming nautical scene is a wonderful and scarce example of the painting of early Chicago artist James Bolivar Needham. Painted on the scene, these small paintings are Needham’s immediate observations from the city’s lakeside docks. Needham was born in Chatham, Ontario, Canada, a terminus point of the Underground Railroad. He left at the age of 14 and worked his way to Chicago on lumber schooners, via Lake Huron and Lake Michigan. His brother Will Needham recalled that he spent some time at the Chicago Art Institute - yet there are no records to support this claim. Needham has only had one documented exhibition - in a Central Art Association show in 1895. He worked in obscurity throughout his lifetime. A retrospective was held at Robert Henry Adams Fine Art, Chicago, February 28 - March 20, 1998, and several of his paintings from the collection of the Chicago Historical Society were included in the 2004 exhibition Chicago Modern 1893 - 1945 at the Terra Museum of American Art, Chicago. Schulman pp. 132-34.

Estimate

$7,000 – $10,000

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4

William a. harper (1873 - 1910)
Untitled (Landscape).

Oil on thick cardstock, circa 1907. 324x387 mm; 12¾x15¼ inches. Signed in oil, lower right.

Provenance: estate of the artist; private collection, Decatur, IL (circa 1922), thence by descent, private collection, VA. The owner’s great grandmother acquired this painting from the Harper family in Decatur. A number of oil paintings by William A. Harper were exhibited at the Decatur Art Institute in January of 1922 .

William A. Harper likely painted this beautiful landscape on his second trip to Paris when he studied with Henry Ossawa Tanner. Like landscape painters Edward M. Bannister and James Bolivar Needham, William Harper was also born in Canada. His family moved from Cayuga to Illinois in 1885, and Harper attended the Art Institute of Chicago from 1895-1901, working as a night watchman and janitor to pay for his tuition. He studied in Paris first from 1903-1905 at the Académie Julian like Tanner. In 1905, the talented Harper earned the Municipal Art League’s blue ribbon at the Art Institute of Chicago for nine of his paintings. Harper’s career was cut short when he died of tuberculosis only a few years later at the age of 36. The Art Institute held a memorial exhibition in Harper’s honor, showcasing 60 of his works. His paintings are found today in the collections of the Metropolitan Museum of Art, the National Gallery, the Smithsonian American National Museum of African American History and Culture, the Tuskegee University and Dr. Walter O. Evans.

Thank you to Janet Nussbaum for her assistance with this painting with her extensive research of William A. Harper and the provenance of his paintings. Barnwell p. 157; Kennedy p. 119.

Estimate

$5,000 – $7,000

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5

James vanderzee (1886 -1983)
Shoe Store Salesman and Customer.

Silver print, circa 1925. 240x190 mm; 9½x7½ inches. Printed in the 1920-30s.

Provenance: acquired directly from the artist; private collection, New York; private collection, New York, acquired from Swann Galleries, Feburary 17, 2009.

Estimate

$3,000 – $5,000

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6

James vanderzee (1886 - 1983)
Untitled (Portrait of a Boy in a Sailor Suit).

Silver print, 1927. 171x127 mm; 6¾x5 inches. Signed and dated in pencil with Vanderzee’s “G.G.G. Photo Studio, Inc., 109 West 135th St.” ink stamp, verso.

Provenance: Howard Greenberg/Photofind, New York, with the gallery label on the mat; private collection, New York.

Estimate

$3,000 – $5,000

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7

James vanderzee (1886 - 1983)
Eighteen Photographs.

Portfolio of 18 mounted silver and sepia-toned silver prints, 1905-1938. Each approximately 184x241 mm; 7¼x9½ inches, loose as issued.

Edition of 75 numbered copies. Each signed and numbered I-XVIII and 75/75 in pencil on the mount, recto. Printed by Richard Benson, New York. Published by Graphics International Ltd., Washington, DC in 1974. Folio-size gray cloth slipcase.

Provenance: Howard Greenberg Gallery, New York, private collection, New York.

Titles include: Couple, Harlem, 1932 * Nude, Harlem, 1923 * Mrs. Turner, Lenox, Mass., 1905 * Whittier Preparatory School, Phoebus, Va., 1907 * The VanDerZee Men, Lenox, Mass., 1908 * Kate and Rachel VanDerZee, Lenox, Mass., 1907 * Miss Suzie Porter, Harlem, 1915 * Marcus Garvey and Militia, Harlem, 1924 * Garveyite Family, Harlem, 1924 * Dancer, Harlem, 1924 * Portrait of an Actor, Harlem, 1929 * Swimming Team, Harlem, 1925 * Wedding Day, Harlem, 1926 * Black Jews, Harlem, 1929 * Atlantic City, 1930 * Portrait of Two Brothers and Their Sister, 1931 * The Heiress, Harlem, 1938 * Daddy Grace, Harlem, 1938.

A handsome portfolio, published by Harry Lunn, Jr., with iconic images from VanDerZee’s photographic career. It includes various subjects of the Harlem Renaissance, as well as studies of Marcus Garvey, Daddy Grace, and formal family portraits.

Estimate

$40,000 – $60,000

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8

James vanderzee (1886 - 1983)
Swimming Team.

Silver print, 1925. 64x236 mm; 2½x9⅜ inches. Signed and numbered XI 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

$1,500 – $2,500

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9

James vanderzee (1886 - 1983)
Wedding Day, Harlem.

Silver print, 1926. 236x178 mm; 9⅜x7 inches. Signed and numbered XII 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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10

James vanderzee (1886 - 1983)
Untitled (Woman in Fur Holding Cat).

Silver print, 1935. 171x127 mm; 9⅜x7⅝ inches.

Provenance: Howard Greenberg/Photofind, New York, with the gallery label on the mat; private collection, New York.

Estimate

$3,000 – $5,000

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Richmond Barthé & Feral Benga

Feral Benga is an iconic artwork of the Harlem Renaissance. It represents the culmination of Richmond Barthé’s study of the figure in sculpture, anatomy and dance in the 1930s, and his pioneering realization of an ideal male nude. According to Barthé scholar Margaret Rose Vendryes, Feral Benga, Barthé’s “signature piece,” was completed within a few months of seeing the Folies Bergères dancer Benga perform on stage during his first visit to Paris in 1934. Vendryes describes how Benga was an exotic celebrity–a Senegalese cabaret dancer known in Parisian and Manhattan gay circles, who had performed on stage with Josephine Baker and had even appeared in a Jean Cocteau surrealist film. Barthé used postcards, photographs and his memory to recreate a life-like representation of the dancer. The raised sword pose also recalls the muscular nudes of the famous Mannerist engraving by Antonio Pollaiuolo, Battle of Naked Men, circa 1470.

Grander in scale than its actual size, Feral Benga was one of the artist’s major achievements in his life-long body of work, a natural and sensual representation of the male nude, made at the height of his career. The sculpture was first shown at the 1937 Dance International exhibition at Rockefeller Center, and was later featured and illustrated in Alain Locke’s seminal survey, The Negro in Art. The figure is also important as a groundbreaking evocation of both male and homosexual sexuality in early 20th century American Art. Vendryes pp. 66-69.

Carl Van Vechten and ©Van Vechten Trust. Richmond Barthé, and his sculpture, Feral Benga, 1937. Carl Van Vechten Papers Relating to African American Arts and Letters. James Weldon Johnson Collection in the Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.

Richmond Barthé and his sculpture, Feral Benga, 1937.

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11

Richmond barthé (1901 - 1989)
Feral Benga.

Bronze with a dark brown patina, modeled in 1935, cast circa 1960. Approximately 483 mm; 19 inches high (not including the marble base). Cast by the Modern Art Foundry, Long Island City, NY. Signed at the base edge.

Provenance: the artist; Samella Lewis, Los Angeles; Dr. Linda F. Rankin, New Jersey (1988); William Watson Hines III, thence by descent, private collection, New Jersey. Hines was a business writer, art dealer and collector who lent many works from his collection to the Art In Embassies Program of the US State Department.

Illustrated: Cedric Dover. American Negro Art, plate 70 (another impression).

Feral Benga represents the culmination of Richmond Barthé's study of the figure in sculpture, anatomy and dance in the 1930s, and his pioneering realization of an ideal male nude. According to Barthé scholar Margaret Rose Vendryes, Feral Benga, Barthé's "signature piece," was completed within a few months of seeing the Folies Bergères dancer Benga perform on stage during his first visit to Paris in 1934. Vendryes describes how Benga was an exotic celebrity--a Senegalese cabaret dancer known in Parisian and Manhattan gay circles, who had performed on stage with Josephine Baker and had even appeared in a Jean Cocteau surrealist film. Barthé used postcards, photographs and his memory to recreate a life-like representation of the dancer. The raised sword pose also recalls the muscular nudes of the famous Mannerist engraving by Antonio Pollaiuolo, Battle of Naked Men, circa 1470.

Grander in scale than its actual size, Feral Benga was one of the artist's major achievements in his life-long body of work, a natural and sensual representation of the male nude, made at the height of his career. The sculpture was first shown at the 1937 Dance International exhibition at Rockefeller Center, and was later featured and illustrated in Alain Locke's seminal survey, The Negro in Art. The figure is also important as a groundbreaking evocation of both male and homosexual sexuality in early 20th century American Art.

Thank you to Margaret Vendryes for her assistance with the cataloguing of this cast. This is only the second mid-career cast of this bronze sculpture to come to auction--there are only two bronzes known to exist from the first 1935 casting. Under the supervision of the artist and the Richmond Barthé Trust, an edition of 10 numbered casts and a small number of artist's proofs of Feral Benga were made in 1986. Vendryes pp. 66-69.

Estimate

$75,000 – $100,000

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12

Richmond barthé (1901 - 1989)
Head of a Dancer (Harald Kreutzberg).

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.

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

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.

Estimate

$15,000 – $25,000

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13

James lesesne wells (1902 - 1992)
Group of 5 linoleum cuts.

Each on cream thin Japan paper, circa 1930. 387x273 mm; 15¼x10¾ inches (sheet), full margins.

This illustrative series is a very scarce example of printmaking from the Harlem Renaissance era. James Lesesne Wells’s early career as a printmaker is characterized by his easy mastery of block prints. Wells also was very successful in having this graphic work widely published in leading black periodicals like The Crisis and Opportunity; his illustrations accompanied the writing of the likes of writers Alain Locke, Marianne Moore, Willis Richardson and Carter Woodson.

Estimate

$8,000 – $12,000

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Modern Art

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14

Allan rohan crite (1910 - 2007)
Way Down in Egypt’s Land.

Pen, brush and ink on cream illustration board, 1937. 432x305 mm; 17x12 inches. Signed and dated in ink, lower right.

Provenance: private collection, New Jersey.

This large, beautiful drawing by Crite impressively illustrates the second verse of the refrain from the spiritual Go Down Moses, popularized by Fisk University Jubilee Singers: “Go down, Moses! Way down in Egypt’s land. Tell old Pharoah. Let my people go!”

Estimate

$7,000 – $10,000

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15

Frederick d. jones (1914 - 2004)
Go Down Moses.

Wood engraving on cream wove paper, circa 1937-40. 178x127 mm; 7x5 inches, wide margins. Signed and titled in pencil, lower margin. A very good, dark impression of this scarce, early print.

Estimate

$1,200 – $1,800

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16

Loïs mailou jones (1905 - 1998)
Untitled (Street Scene in Cabris).

Gouache and pencil on artist’s gesso board, 1938. 406x305 mm; 16x12 inches. Signed and dated in gouache, lower right recto. Inscribed “Lois M. Jones Cabris” in pencil on the verso.

Provenance: Parrish Gallery, Georgetown, Washington, DC, with the gallery label verso; private collection, Florida; private collection, North Carolina.

This charming street corner scene is an unusual example of a gouache from Loïs Mailou Jones’s oeuvre. Cabris is a picturesque village in the Alpes-Maritimes department of southeastern France, and was the hometown of her close friend Céline Tabary. Jones first visited the town in 1937 during her first year of studies in Paris, and returned numerous times over a period of some 50 years. Jones and her husband Pierre-Noël were also married there in 1953.

Estimate

$6,000 – $9,000

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17

Claude clark (1915 - 2001)
Three Men.

Etching on wove paper, 1939. 114x152mm; 4½x6 inches, full margins. Signed and titled in pencil, lower margin.

This scarce etching is based on Claude Clark’s same-titled 1939 painting of soldiers carrying their wounded compatriots during the Spanish Civil War. Clark also made a carborundum mezzotint entitled Three Men in Spain of the same subject.

Estimate

$1,500 – $2,500

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18

William e. smith (1913-1997)
War Fatigue.

Linoleum cut on wove paper, 1940. 304x254 mm; 12x10 inches, full margins. Signed, titled, dated and numbered 7/10 in pencil, lower margin.

Another impression of this very scarce print is in the permanent collection of the Metropolitan Museum of Art, New York.

William E. Smith, alongside artists Hughie Lee-Smith, Elmer Brown, Charles Sallée, and others, formed the influential circle of African American artists who trained and exhibited at the WPA-funded Karamu House art center in Cleveland, Ohio in the late 1930 and early 1940s. Smith’s important, early linocuts were exhibited nationally throughout his lifetime. After his service in WWII, Smith settled in Los Angeles where he worked as both as an artist and cultural activist. He helped found the group Art West Associated in 1960, an organization formed to promote African American artists in California.

Estimate

$3,000 – $5,000

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19

Claude clark (1915 - 2001)
Medal of Honor.

Crayon and graphite on printed cream wove paper, 1944. 127x203 mm; 5x8 inches. Signed in pencil, lower edge.

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

This image on a reclaimed page from a book is a scarce example of an interracial wartime image of American soldiers. Troop integration did not occur in basic training camps until after World War II when President Harry Truman reluctantly integrated the Armed Forces in 1948.

Estimate

$1,500 – $2,500

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20

John n. robinson (1912 - 1994)
A Black Man at the White House.

Oil on canvas board, 1943. 292x292 mm; 11½x11½ inches (image); 406x508 mm; 16x20 inches (board). Signed, titled and dated in felt tip marker and blue ink, verso. With a pencil sketch of the artist John Farrar, and inscribed with Farrar’s Washington, DC address on the verso.

Provenance: collection of the artist, with the artist’s typed label on the verso; private collection, Washington, DC. (circa 1979-80), acquired from Aldous Ealey and the Barnett-Aden Gallery, Washington, DC.

Exhibited: John Robinson: A Retrospective, Corcoran Gallery of Art, Washington, DC, June 18 - July 30, 1976.

Illustrated: Adolphus Ealey, John R. Kinard and Roy Slade, John Robinson: A Retrospective, the Anacostia Neighborhood Museum, Smithsonian Institution, in cooperation with the Corcoran Gallery of Art, Washington, DC, p. 31. The catalogue notes quote Robinson: “this (painting) was done for a mural competition at the Recorder of Deeds Office; it depicts Senator Pomeroy introducing Frederick Douglass to President Lincoln”.

Frederick Douglass famously visited President Abraham Lincoln in August of 1863, without an appointment. On the way to the White House, Douglass met Samuel C. Pomeroy, a senator from Kansas, who introduced him to the President. The artist’s typed description reads; “A Black Man at the White House. In 1863, during the Civil War, Frederick Douglass visited President Lincoln at the White House to ask that Negores be enlisted in the Union Army. This resulted in the forming of the two Negro regiments, the 54th and the 55th from Boston, Massachusetts. The First Negro Soliders in the Union Army.”

This historical scene is an early, significant painting by John N. Robinson, a great artist whose work rarely comes to auction. This native Washington, DC painter should be considered a significant modern portrait artist alongside Archibald M. Motley. Robinson excelled at warm depictions of African American friends and family, in addition a series of striking self-portraits. Despite a long career and museum exhibitions, Robinson’s work went largely unheralded outside of Washington, DC during his lifetime. Robinson received recognition for his painting late in his career with a solo exhibition at the Corcoran Gallery of Art in 1976, and a retrospective at the Anacostia Museum and Center for African American History and Culture in 1983. His paintings are found today in the permanent collections of the National Portrait Gallery, the Birmingham Museum of Art, the Anacostia Community Museum, the Smithsonian American Art Museum and the Howard University Gallery of Art.

Estimate

$12,000 – $18,000

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21

Gordon parks (1912 - 2006)
American Gothic, Washington, D.C.

Silver print, 1942, printed circa 1970s. 241x165 mm; 9 1/2x6 1/2 inches (image); 254x203 mm; 10x8 inches (sheet). Signed (twice) in ink, lower edge verso.

Provenance: the estate of the artist, New York; private collection, New York, acquired from Swann Galleries, February 21, 2008.

Estimate

$5,000 – $7,000

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22

Norman lewis (1909 - 1979)
Untitled (New York Park Crowd).

Watercolor, ink and gouache on cream wove paper, 1943. 356x508 mm; 14x20 inches. Signed and dated “7-21-43” in ink, lower left recto.

With an unfinished city scene in watercolor, pen and ink on the verso.

Provenance: private collection, Maryland.

This exceptional modernist watercolor by Norman Lewis shows his increasingly abstract approach to his city subjects. These two different locales depicted on each side of the sheet of paper are from Lewis’s summer in New York. Ruth Fine wrote that in 1943 Lewis won a competition to design a war relief poster, and had a supervisory dock job working in Vancouver where he encountered fierce discrimination from workers. Upon returning to New York, he held a job tending to housing project lawns. Then in the fall, Norman Lewis began teaching painting at the new progressive George Washington Carver School in Harlem, where he joined an impressive staff, including Ernest Crichlow (painting), Charles White (drawing), and Elizabeth Catlett (sculpture). Lewis taught there through 1944. Fine p. 252.

Estimate

$12,000 – $18,000

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23

Henry w. bannarn (1910 - 1965)
Rowhouses, Charleston, SC.

Oil on board, 1943. 454x606 mm; 17⅞x23⅞ inches. Signed “P.F.C. H. Bannarn”, inscribed “Charleston S.C.” and dated “19[4]3” in oil, lower left recto. Inscribed “This is the one that Mike gave [illeg.]” in pencil, verso.

Provenance: the estate of the artist; private collection, New York (2017).

Exhibited: Menconi+Schoelkopf, New York; Conner & Rosenkranz, New York, with the gallery labels on the verso.

Born in Wetumpka, OK, Bannarn moved with his family to Minneapolis when he was a child. There Bannarn studied at the Minneapolis School of Art (now the Minneapolis College of Art and Design). He won two first place prizes in sculpture at the Minnesota State Art Fair and showed at the Harmon Foundation in New York in 1933. With a grant from the Minneapolis philanthropist James Ford Bell, Bannarn moved to New York in 1934. There Bannarn and Charles Alston rented the studio which became the Harlem Workshop or the “306”, a creative center and meeting place for artists, musicians and poets. Bannard also taught at the Harlem Community Art Center, where he worked alongside Norman Lewis and Charles Alston, and mentored Jacob Lawrence.

Rowhouses, Charleston, SC is a scarce example of Bannarn’s modernist painting made during his wartime service in the US Army. Bannarn was inducted around 1940, and his painting skills were soon put to use in the Army’s Special Services Division. In Camp Plauche, Harahan, Louisiana, he created a series of murals depicting soldiers on furlough in various theaters of operation. Later at the Charleston Port of Embarkation, South Carolina, he completed murals depicting American soldiers on leave around the world, and recruitment and war bond posters, painting some of the the first service and support images to depict African American soldiers as a fighting men. Bannarn continued to paint his own work at the time, and returned to his studio practice in New York in 1949.

Estimate

$10,000 – $15,000

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24

Hale woodruff (1900 - 1980)
Untitled (Georgia Landscape).

Watercolor on paper, mounted to cardstock, circa 1940. 470x635 mm; 18½x25 inches. Signed in watercolor, lower left.

Provenance: private collection, Massachusetts.

This vivid watercolor is an excellent example of the landscapes of the eroded, wooded rural hills that Hale Woodruff painted around Atlanta in the late 1930s and early 40s.

Estimate

$6,000 – $9,000

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25

Charles alston (1907 - 1977)
Santa Ana Winds, Ariz. (Arizona).

Goauche and watercolor on wove paper, 1944. 305x457 mm; 12x18 inches. Signed, dated and titled in pencil, lower right.

Provenance: Bill Hodges Gallery, New York (then A.F.T.U. Gallery), with the label on the frame back, private collection, New York

This dramatic watercolor of a storm over an Arizona valley shows Charles Alston’s modernist approach. Alston and his friend Hale Woodruff made similar landscape studies and sketches of the West during a later exploratory trip to California in 1948. Both artists were preparing for the pair of large historical murals they would complete the following year for the Golden State Mutual Life Insurance Company in Los Angeles.

Estimate

$6,000 – $9,000

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Postwar Art