Modern

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Lot 1
MAY HOWARD JACKSON (1877 - 1931) (after)
Slave Boy .

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Lot 2
HENRY OSSAWA TANNER (1859 - 1937)
The Disciples See Christ Walking on the Water .

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Lot 3
WILLIAM A. HARPER (1873 - 1910)
Untitled (Farm House) .

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Lot 4
WILLIAM A. HARPER (1873 - 1910)
Untitled (Landscape with House on Horizon) .

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Lot 5
JAMES A. PORTER (1905 - 1970)
Untitled (Male Nude) .

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Lot 6
JAMES LESESNE WELLS (1902 - 1993)
Builders .

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Lot 7
RICHMOND BARTHÉ (1901 - 1989)
Boy with a Broom .

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Lot 8
SARGENT JOHNSON (1888 - 1967)
Divine Love .

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Lot 9
WILLIAM EDOUARD SCOTT (1884 - 1964)
Untitled (Man with Child Holding Basket) .

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Lot 10
HALE WOODRUFF (1900 - 1980)
Head of Old Woman.

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Lot 11
HALE WOODRUFF (1900 - 1980)
Sunday Promenade .

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Lot 12
HALE WOODRUFF (1900 - 1980)
Returning Home .

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Lot 13
JOSEPH DELANEY (1904-1991)
Pair of Drawings.

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Lot 14
HUGHIE LEE-SMITH (1915 - 1999)
Untitled (Sketch of a Boy) .

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Lot 15
RICHMOND BARTHÉ (1901 - 1989)
Head of a Dancer (Harald Kreutzberg) .

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Lot 16
JAMES VANDERZEE (1886 - 1983)
Portrait of Two Brothers and Their Sister .

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Lot 17
JAMES VANDERZEE (1886 - 1983)
The Heiress, Harlem .

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Lot 18
JAMES VANDERZEE (1886 -1983)
GGG Photo Studio .

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Lot 19
WILMER JENNINGS (1910 - 1990)
Shack .

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Lot 20
WILMER JENNINGS (1910 - 1990)
Iris .

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Lot 21
ALLAN ROHAN CRITE (1910 - 2007)
Steal Away Home, I Ain't Got Long to Stay Here .

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Lot 22
ALLAN ROHAN CRITE (1910 - 2007)
Alone in the Big, Wide World (Boy, Girl, Bicycle)

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Lot 23
ALLAN ROHAN CRITE (1910 - 2007)
The Annunciation .

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Lot 24
RICHMOND BARTHÉ (1909 - 1989)
Untitled (Etta Moten Barnett) .

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Lot 25
RICHMOND BARTHÉ (1909 - 1989)
Untitled (Etta Vee Barnett) .

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Lot 26
MARGARET BURROUGHS (1917 - 2010)
Day Coach .

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Lot 27
HENRY BOZEMAN JONES (1889 - 1973)
Portrait of a Young Boy .

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Lot 28
VERA JACKSON (1911 - 1999)
Dorothy Dandridge .

Postwar

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Lot 29
HAYWARD OUBRE (1916 - 2006)
Entanglement .

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Lot 30
CLAUDE CLARK (1915 - 2001)
Ritual Dance .

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Lot 31
ELIZABETH CATLETT (1915 - 2012)
In Other Folks' Homes .

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Lot 32
ELIZABETH CATLETT (1915 - 2012)
I have special reservations... .

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Lot 33
JAMES LESESNE WELLS (1902 - 1993)
Interlude .

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Lot 34
JAMES LESESNE WELLS (1902 - 1992)
Bronze C Street Diana .

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Lot 35
JAMES LESESNE WELLS (1902 - 1992)
The Awakening .

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Lot 36
PAUL F. KEENE, JR. (1920 - 2009)
Untitled .

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Lot 37
NORMAN LEWIS (1909 - 1979)
Untitled (Figure Study) .

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Lot 38
NORMAN LEWIS (1909 - 1979)
Untitled (Rhododendrons) .

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Lot 39
NORMAN LEWIS (1909 - 1979)
Jazz Quartet .

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Lot 40
WILLIAM SYLVESTER CARTER (1909 - 1986)
Untitled (Harlequin Figure) .

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Lot 41
ELDZIER CORTOR (1916 - 2015)
Composition .

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Lot 42
HARTWELL YEARGANS (1915 - 2005)
Untitled (Two Women) .

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Lot 43
ELIZABETH CATLETT (1915 - 2012)
Untitled (Young Woman Looking Up) .

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Lot 44
ROBERT CROMARTIE (1929 - 2007)
Portrait of an African American Solider .

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Lot 45
ALVIN MARRIOTT (1902 - 1992)
Untitled (Head of a Man).

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Lot 46
HENRY W. BANNARN (1910 - 1965)
Sam's Luncheonette, Brooklyn, NY .

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Lot 47
HAYWOOD “BILL” RIVERS (1922 - 2001)
The Dance .

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Lot 48
BEAUFORD DELANEY (1901 - 1979)
Untitled (Composition in Yellow, Orange and Red) .

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Lot 49
BEAUFORD DELANEY (1901 - 1979)
Untitled .

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Lot 50
NORMAN LEWIS (1909 - 1979)
Untitled .

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Lot 51
BOB THOMPSON (1937 - 1966)
The Chase .

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Lot 52
THOMAS SILLS (1914 - 2000)
Untitled (Abstraction in Black) .

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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
ELAINE CROSSLEY (1925 - 1996)
Untitled (Abstraction) .

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Lot 56
ROBERT COLESCOTT (1925 - 2009)
Untitled (Nude in a Landscape) .

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Lot 57
HUGHIE LEE-SMITH (1915 - 1999)
Aftermath .

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Lot 58
JACOB LAWRENCE (1917 - 2000)
Two Rebels .

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Lot 59
BENNY ANDREWS (1930 - 2006)
Mask of a Life .

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Lot 60
SAM GILLIAM (1933 - )
First Season .

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Lot 61
RICHMOND BARTHÉ (1901 - 1989)
Woman with Turban .

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Lot 62
EMILIO CRUZ (1938 - 2004)
Untitled (Three Figures) .

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Lot 63
CHARLES ALSTON (1907 - 1977)
Family in Cityscape (Family Group - Cityscape) .

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Lot 64
WALTER WILLIAMS (1920 - 1988)
Girl With Butterflies #2.

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Lot 65
EARL HILL (1927 - 1985)
At the Pump .

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Lot 66
IRENE V. CLARK (1927 - 1984)
Untitled (African Huts) .

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Lot 67
JEFF DONALDSON (1932 - 2004)
Jazz Drummer .

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Lot 68
JEFF DONALDSON (1932 - 2004)
Untitled (Portrait) .

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Lot 69
BARBARA JONES-HOGU (1938 - 2017)
Untitled .

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Lot 70
EMMA AMOS (1937 - 2020)
Gold Face Type .

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Lot 71
CHARLES SEARLES (1937 - 2004)
Untitled (Man Napping) .

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Lot 72
INGE HARDISON (1904 - 2016)
Sojourner Truth .

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Lot 73
SAMELLA LEWIS (1924 - )
20th Century Prophets .

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Lot 74
ROMARE BEARDEN (1911 - 1988)
Martin Luther King, Jr. - Mountain Top .

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Lot 75
BEUFORD SMITH (1941 - )
Man Crying/Martin Luther King Jr. Essay, 125th St. NYC .

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Lot 76
ANTHONY BARBOZA (1944 - )
Jacksonville, Florida .

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Lot 77
HUGHIE LEE-SMITH (1915 - 1999)
Untitled (Nude) .

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Lot 78
ARTIS LANE (1927 - )
Mermaid .

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Lot 79
JOHN WHITMORE (1948 - )
Sleep .

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Lot 80
CHARLES WHITE (1918 - 1979)
Wanted Poster Series #11 and #11a (Positive and Negative Image).

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Lot 81
BARBARA JONES-HOGU (1938 - 2017)
Nation Time II .

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Lot 82
LEV MILLS (1938 - 2021)
I...

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Lot 83
HERBERT GENTRY (1919 - 2003)
Three color lithographs.

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Lot 84
SAM MIDDLETON (1927 - 2015)
Million Dollar Ideas .

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Lot 85
SAM GILLIAM (1933 - )
Untitled .

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Lot 86
KENNETH VICTOR YOUNG (1933 - 2017)
Untitled (Abstraction) .

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Lot 87
ALMA THOMAS (1891 - 1978)
Untitled (Atmospheric Effects Series) .

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Lot 88
ROBERT BLACKBURN (1920 - 2003)
Space Shape .

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Lot 89
VICTOR SEACH (1918 - 1991)
Untitled .

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Lot 90
KENNETH VICTOR YOUNG (1933 - 2017)
Night Push .

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Lot 91
DINDGA MCCANNON (1947 - )
Carol and Friend .

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Lot 92
BENNY ANDREWS (1930 - 2006)
Boys Playing Marbles .

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Lot 93
BENNY ANDREWS (1930 - 2006)
Dew Drop Inn (The Thirties) .

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Lot 94
ROMARE BEARDEN (1911 - 1988)
Mother and Child .

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Lot 95
JOSEPH HOLSTON (1944 - )
Girl with View-Master .

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Lot 96
BARBARA CHASE-RIBOUD (1939 - )
Black Door .

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Lot 97
EMMA AMOS (1938 - 2020)
Dream Girl .

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Lot 98
ROMARE BEARDEN (1911 - 1988)
The Fisherman

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Lot 99
ROMARE BEARDEN (1911 - 1988)
Pick Up Group .

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Lot 100
ROMARE BEARDEN (1911 - 1988)
Pepper Jelly Lady .

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Lot 101
VINCENT SMITH (1929 - 2004)
Rimbaud's House in Harar .

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Lot 102
RICHARD MAYHEW (1924 - )
Moody Space Blues .

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Lot 103
FREDDIE STYLES (1944 - )
C Series, #4 .

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Lot 104
LEON N. HICKS (1933 - )
Portrait VIII, #2 .

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Lot 105
ELLIOTT PINKNEY (1934 - )
King.

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Lot 106
NAPOLEON JONES-HENDERSON (1943 - )
A Few Words From the Prophet Stevie .

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Lot 107
ROMARE BEARDEN (1911 - 1988)
Roots .

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Lot 108
JACOB LAWRENCE (1917 - 2000)
Carpenters .

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Lot 109
CHARLES WHITE (1918 - 1979)
Sound of Silence II .

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Lot 110
GEORGE L. WILSON (1930 - 2003)
Bus Stop .

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Lot 111
ERNEST CRICHLOW (1914 - 2005)
The Sisters .

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Lot 112
ROMARE BEARDEN (1911 - 1988)
Pilate .

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Lot 113
ROMARE BEARDEN (1911 - 1988)
Mecklenburg Autumn .

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Lot 114
ROMARE BEARDEN (1911 - 1988)
Quilting Time .

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Lot 115
REX GORELEIGH (1902 - 1986)
Untitled (Woman and Children at Stove) .

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Lot 116
RICHARD WYATT, JR. (1955 - )
Anonymous Ancestors #1 .

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Lot 117
ANTHONY BARBOZA (1944 - )
Michael Jackson .

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Lot 118
NORMAN LEWIS (1909 - 1979)
Untitled .

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Lot 119
ED CLARK (1926 - 2019)
Untitled .

Contemporary Part I

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Lot 120
JOHN E. DOWELL, JR. (1941 - )
Doucement .

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Lot 121
McArthur Binion (1946 - )
Untitled .

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Lot 122
HOWARDENA PINDELL (1943- )
War Games Disguised II .

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Lot 123
HOWARDENA PINDELL (1943- )
Mask .

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Lot 124
FELRATH HINES (1913 - 1993)
Untitled (Green Composition) .

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Lot 125
FELRATH HINES (1913 - 1993)
Untitled (Square Composition) .

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Lot 126
CHARLES SEARLES (1937 - 2004)
Dance in the Blue Sky I .

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Lot 127
ED CLARK (1926 - 2019)
Spatial Image III .

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Lot 128
JAMES DENMARK (1936 - )
Untitled (Seated Nude).

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Lot 129
JAMES DENMARK (1936 - )
Untitled (Seated Woman with Cap) .

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Lot 130
ERNEST CRICHLOW (1914 - 2005)
Untitled (Portrait of the Artist's Mother) .

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Lot 131
ELDZIER CORTOR (1916 - 2015)
Dance Composition, No. 34 .

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Lot 132
HUGHIE LEE-SMITH (1915 - 1999)
Still Life with Nectarines .

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Lot 133
ROMARE BEARDEN (1911 - 1988)
Two Women .

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Lot 134
ROMARE BEARDEN (1911 - 1988)
Jamming at the Savoy .

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Lot 135
CHARLES SEBREE (1914 - 1985)
Harlequin .

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Lot 136
EARLIE HUDNALL, JR. (1946 - )
Street Champion, 4th Ward, Houston, TX .

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Lot 137
EMMA AMOS (1937 - 2020)
Highstep .

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Lot 138
ALVIN D. LOVING, JR. (1935 - 2005)
Untitled .

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Lot 139
SAM MIDDLETON (1927 - 2015)
Menuet .

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Lot 140
CHARLES MCGEE (1924 - 2021)
Noah's Ark #10 .

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Lot 141
JAMES LITTLE (1952 - )
Study for Tubman Series #1 for Painting #1 .

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Lot 142
RICHARD HUNT (1935 - )
Take Off .

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Lot 143
JACOB LAWRENCE (1917 - 2000)
General Toussaint L'Ouverture .

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Lot 144
JACOB LAWRENCE (1917 - 2000)
The Capture.

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Lot 145
JACOB LAWRENCE (1917 - 2000)
The Coachman .

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Lot 146
JACOB LAWRENCE (1917 - 2000)
Contemplation .

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Lot 147
HUGHIE LEE-SMITH (1915 - 1999)
Bondage .

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Lot 148
HUGHIE LEE-SMITH (1915 - 1999)
Promise .

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Lot 149
JOHN ROZELLE (1944 - )
ROHO Series #119 .

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Lot 150
JACK WHITTEN (1939 - 2018)
Site X .

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Lot 151
DAVID C. DRISKELL (1931 - 2020)
The Land is Blue (Rainforest) .

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Lot 152
Sir Frank Bowling, OBE RA (1934 - )
Untitled .

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Lot 153
Sir Frank Bowling, OBE RA (1934 - )
Untitled .

Brandywine Workshop

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Lot 154
STANLEY WHITNEY (1946 - )
Untitled #1 .

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Lot 155
RICHARD HUNT (1935 - )
Untitled

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Lot 156
JACOB LAWRENCE (1917 - 2000)
Builders Three .

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Lot 157
JOHN BIGGERS (1924 - 2001)
Family Ark (Middle Panel) .

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Lot 158
EMMA AMOS (1938 - 2020)
Miss Otis .

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Lot 159
BELKIS AYÓN (1967 - 1999)
Acoso (Harrassment) .

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Lot 160
JOHN T. SCOTT (1940 - 2007)
Maryann

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Lot 161
JOHN WOODROW WILSON (1922 - 2015)
Five Men .

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Lot 162
PORTFOLIO
Forty Square Portfolio .

Contemporary Part II

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Lot 163
JACOB LAWRENCE (1917 - 2000)
The First Book of Moses Called Genesis.

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Lot 164
AKILI RON ANDERSON (1946 - )
Middle Passage .

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Lot 164
ARTIS LANE (1927 - )
Untitled (Nude and Cat) .

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Lot 165
RICHARD YARDE (1939 - 2011)
Malcolm .

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Lot 166
RONALD ADAMS (1934 - )
Endangered Species .

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Lot 167
HERBERT GENTRY (1919 - 2003)
Near to You .

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Lot 168
FREDDIE STYLES (1944 - )
Untitled (Root Series) .

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Lot 169
MERTON D. SIMPSON (1928 - 2013)
Singer .

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Lot 170
JOE OVERSTREET (1933 - 2019)
Untitled .

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Lot 171
FRANK W. WIMBERLEY (1926 - )
Berbere .

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Lot 172
MELVIN EDWARDS (1937 - )
August Water #4 .

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Lot 173
MILDRED THOMPSON (1935 - 2003)
Particles (Helio Centric Series)..

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Lot 174
ELIZABETH CATLETT (1915 - 2012)
Playmates .

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Lot 175
ELIZABETH CATLETT (1915 - 2012)
For My People .

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Lot 176
ELIZABETH CATLETT (1915 - 2012)
Homage to the Panthers.

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Lot 177
MELVIN W. CLARK (1944 - )
Saxophone Colossus .

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Lot 178
HUGHIE LEE-SMITH (1915 - 1999)
Untitled (Abstract Colored Mask I) .

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Lot 179
HUGHIE LEE-SMITH (1915 - 1999)
Untitled (Abstract Colored Mask II) .

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Lot 180
SAMELLA LEWIS (1924 - )
The Masquerade .

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Lot 181
KERRY JAMES MARSHALL (1955 - )
Brownie .

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Lot 182
SAM GILLIAM (1933 - )
Untitled (VOICES: An Artists' Project).

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Lot 183
SAM GILLIAM (1933 - )
Stack .

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Lot 184
SAM GILLIAM (1933 - )
Adamo 19 .

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Lot 185
SAM GILLIAM (1933 - )
Shooting Star V .

A Distinguished Private Collection

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Lot 186
ELIZABETH CATLETT (1915 - 2012)
Harriet .

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Lot 187
ELIZABETH CATLETT (1915 - 2012)
There is a Woman in Every Color .

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Lot 188
ROMARE BEARDEN (1911 - 1988)
Girl in the Garden .

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Lot 189
ELIZABETH CATLETT (1915 - 2012)
Dancing .

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Lot 190
WILLIE BIRCH (1942 - )
Woman with Do Rag .

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Lot 191
CARRIE MAE WEEMS (1953 - )
Jim, if you choose to accept, the mission is to land on your own two feet.

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Lot 192
MARÍA MAGDALENA CAMPOS-PONS (1959 - )
Untitled .

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Lot 193
BETYE SAAR (1926 - )
Now You Cookin' With Gas .

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Lot 194
BETYE SAAR (1926 - )
Magnolia Flower .

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Lot 195
MARGARET BURROUGHS (1917 - 2010)
Person (Two Worlds) .

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Lot 196
WILLIE COLE (1955 - )
Men of Iron .

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Lot 197
KARA WALKER (1969 - )
An Army Train .

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Lot 198
BARBARA BULLOCK (1938 - )
The Houses of Molu (The Journey series).

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Lot 199
EDWARD E. HUGHES (1940 - 2018)
Saturday Afternoon on Magic Island .

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Lot 200
EDWARD E. HUGHES (1940 - 2018)
Untitled (Pecking Order) .

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Lot 201
ANTHONY LIGGINS (1965 - )
Miki’s Winter Wonderland .

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Lot 202
ANTHONY LIGGINS (1965 - )
Soul of the Conga .

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Lot 203
SAM GILLIAM (1933 - )
Prow .

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Lot 204
GLENN LIGON (1960 - )
Boy on Tire .

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Lot 205
DANIEL JOSEPH MARTINEZ (1957 - )
A meditation on the possibility...

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Lot 206
MEQUITTA AHUJA (1976 - )
Bramble .

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Lot 207
HANK WILLIS THOMAS (1976 - )
Negroes to be Sold .

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Lot 208
DEBORAH WILLIS (1948 - )
I Made Space for a Good Man .

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Lot 209
IROZEALB (IONA ROZEAL BROWN) (1966 - )
King Kata #3, Peel Out (after Yoshitoshi’s “Incomparable Warriors: Woman Han Gaku”) .

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Lot 210
XAVIERA SIMMONS (1974 - )
Into the New Sea (Nomad) .

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Lot 211
AWOL ERIZKU (1988 - )
Boy Holding Grapes .

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Lot 212
MICKALENE THOMAS (1971 - )
Liz and Chair with Zebra .

Contemporary Part III

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Lot 213
GLENN LIGON (1960 - )
Untitled (My Fear is Your Fear).

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Lot 214
ELLEN GALLAGHER (1965 - )
Untitled .

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Lot 215
ELLEN GALLAGHER (1965 - )
Alias II .

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Lot 216
HUGHIE LEE-SMITH (1915 - 1999)
Quandary .

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Lot 217
FRANCIS A. SPROUT (1940 - 2017)
El Medio from Convent Street .

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Lot 218
BELKIS AYÓN (1967 - 1999)
Intolerancia .

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Lot 219
DAVID DRISKELL (1931 - 2020)
Masked Forest.

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Lot 220
KYRA E. HICKS (1965 - )
I Count!

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Lot 221
KARA WALKER (1969 - )
Freedom, A Fable: A Curious Interpretation of the Wit of a Negress in Troubled Times.

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Lot 222
KARA WALKER (1969 - )
The Emancipation Approximation (Scene #15).

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Lot 223
LOUIS DELSARTE (1944 - 2020)
The Letter .

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Lot 224
ELIZABETH CATLETT (1915 - 2012)
Gossip.

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Lot 225
DAVID DRISKELL (1931 - 2020)
African Woman, Windows .

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Lot 226
WINFRED REMBERT (1945 - 2021)
All Me .

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Lot 227
DANNY SIMMONS (1953 - )
Might Fade Away .

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Lot 228
DANNY SIMMONS (1953 - )
United We Stand.

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Lot 229
SAM GILLIAM (1933 - )
Untitled .

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Lot 230
RICHARD MAYHEW (1924 - )
Serenade .

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Lot 231
RICHARD MAYHEW (1924 - )
Landscape For Bob .

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Lot 232
FAITH RINGGOLD (1930 - )
Somebody Stole My Broken Heart.

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Lot 233
BARBARA JONES-HOGU (1938 - 2017)
God’s Child .

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Lot 234
MICHAEL A. CUMMINGS (1945 - )
Martin Luther King Jr .

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Lot 235
Dindga McCannon (1947 - )
Harlem Elder Diva Speaks .

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Lot 236
RICHARD WYATT JR. (1955 - )
Maya Angelou .

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Lot 237
ACCRA SHEPP (1962 - )
Morgan .

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Lot 238
KERRY JAMES MARSHALL (1955 - )
Keeping the Culture .

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Lot 239
LARRY WALKER (1935 - )
Dialogue Xl, Platinum Hits .

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Lot 240
Victor H. Sparrow IV (1967 - )
Red-Lining, 1962, #1 .

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, Cataloguer

Corey Serrant
Cataloguer

cserrant@swangalleries.com
(212) 254-4710 ext. 29
Shanell Kitt, Administrator

Shanell Kitt
Administrator

skitt@swanngalleries.com
(212) 254-4710 ext. 56

George S. Lowry
Chairman



Nicholas D. Lowry
President, Principal Auctioneer

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Modern

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1

MAY HOWARD JACKSON (1877 - 1931) (after)
Slave Boy .

Bronze with a dark brown patina, mounted on a wooden base, 1899. 406x330x203 mm; 16x13x8 inches, not including the base. Cast in the 1980s. Incised with the maker's cypher, "5" and "©" at the rear lower edge.

Illustrated: The Catalogue of the Barnett-Aden Collection , the Museum of African American Art, Tampa, FL and the Florida Education Fund, another cast, p. 26.

This handsome bust is a posthumous work made when director Adolphus Ealey had bronze casts fabricated after works in the Barnett Aden collection - it was not cast from an original mold. Other similar casts of Slave Boy are in the collections of the Pennsylvania Academy of the Fine Arts, the Kinsey African American Art Collection and the William C. Robinson Family Collection.

May Howard Jackson is one of the earliest African American female artists, alongside Edmonia Lewis (c. 1843 - 1912) and Meta Warrick Vaux Fuller (1877 - 1968). Born in the same year, Jackson and Fuller both came from privileged families that embraced fine art and studied at the Pennsylvania Museum School as well as the Pennsylvania Academy of the Fine Arts. Jackson won a scholarship to attend in 1895, the year before Fuller - becoming the first African American woman to attend. She married in 1902, and moved to Washington, DC, establishing a studio there and exhibiting at the Corcoran Gallery. In 1912, she exhibited busts of F. J. Reverend Grimke and W. E. B. Du Bois at the Verhoof Galleries in Washington, DC, which received critical acclaim. Nevertheless, she was rejected by the Washington Society of Fine Arts and the National Academy of Design. She later joined the faculty at Howard University, where she taught with James A. Porter, and continued to exhibit her artwork at the Harmon Foundation and the Barnett-Aden Gallery. Farrington pp. 72-74; St. James p. 266.

Estimate

$8,000 – $12,000

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2

Henry ossawa tanner (1859 - 1937)
The Disciples See Christ Walking on the Water .

Etching on cream wove paper, circa 1905-15. 184x244 mm; 7¼x9⅝ inches, full margins. Signed by the artist’s son, Jesse O. Tanner, and numbered 61/120 in ink, verso. With the artist’s estate ink stamp, verso.

Estimate

$3,000 – $5,000

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3

William a. harper (1873 - 1910)
Untitled (Farm House) .

Oil on thin wood panel, circa 1903-05. 117x193 mm; 4⅝x7⅝ inches. Signed in oil, lower right.

Provenance: estate of the artist; private collection, Decatur, IL (circa 1922), thence by descent, private collection, Virginia. 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. The painting is numbered 19 in pencil on the verso and has a number 19 label on the frame back.

Estimate

$3,000 – $5,000

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4

William a. harper (1873 - 1910)
Untitled (Landscape with House on Horizon) .

Oil on canvas mounted on thick cardstock, circa 1907. 320x396 mm; 12⅞x15⅝ inches. Signed in oil, lower left.

Provenance: estate of the artist; private collection, Decatur, IL (circa 1922), thence by descent, private collection, Virginia. 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.

Estimate

$6,000 – $9,000

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5

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.

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

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.

Estimate

$1,000 – $1,500

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6

James lesesne wells (1902 - 1993)
Builders .

Linoleum cut on cream Japan paper, 1929. 368x273 mm; 14x10¾ inches, wide margins. Artist's proof, from a later printing of an unknown edition size. Signed, dated and inscribed "AP" in pencil, lower margin. Another impression dated 1929 is in the permanent collection of the Metropolitan Museum of Art.

Exhibited: James Lesesne Wells: Sixty Years of Art , curated and organized by Richard Powell and Jock Reynolds, Washington Project for the Arts, Washington, DC, December 4, 1986 - January 24, 1987, then traveled to The Studio Museum in Harlem, spring and summer 1988 (another impression).

Illustrated: Richard Powell and Jock Reynolds, James Lesesne Wells: Sixty Years of Art . p. iii (another impression).

Builders was created by Wells the year he began teaching printmaking at Howard University in Washington, DC. In Builders, Wells portrays the everyday experience of African Americans at labor in this bold, graphic composition.

Estimate

$7,000 – $10,000

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7

Richmond barthé (1901 - 1989)
Boy with a Broom .

Painted plaster, 1929. Approximately 533x330x280 mm; 21x13x11 inches. Incised signature and date on the base.

Provenance: acquired at the Southside Community Art Center, Chicago (1940); private collection, Atlanta; thence by descent to the current owner, Georgia.

The owner's mother was gifted this work by Peter Pollack, the director of the Southside Community Art Center in 1940. While cleaning out their building's basement, she found this sculpture abandoned at 3831 S Michigan Avenue. Previously, the home was built in 1892 for George A. Seaverns, Jr. and his family. In the early 20th century, as wealthy white families moved away, the grand house was eventually converted into apartments in the now African American neighborhood.

Illustrated: Samella Lewis, Barthé: His Life in Art p. 37, reproduction of a photograph in the artist's archives; Margaret Vendryes, Barthé: A Life in Sculpture , fig. 2.22, p. 46, reproduction of a photograph in the magazine Mission Fields at Home , September 1931.

Exhibited: An Exhibition of Portraits and Sculpture by Richmond Barthé , The Woman’s City Club, Chicago, June 7 - 21, 1930. This exhibition of 38 works, included the sculptures Jubilee Singer, Deviled Crab Man, Blackberry Woman, Black Narcissus, West Indian Venus and Breakaway . Exhibition of the Work of Negro Artists, the Harmon Foundation, New York, February 16 - 28, 1931. Boy with a Broom was one of five artworks by Barthé in his second showing at the Harmon Foundation; The Wisconsin Union, University of Wisconsin, April 7 - May 1, 1931. It included 17 artworks; one sold for $50; Women’s City Club, 22 Park Ave, New York, June 7 - 21, 1931. It included Boy With a Broom along with several others from the earlier Harmon Foundation exhibition.

Boy with a Broom is an exciting discovery - an extremely scarce example of a large plaster sculpture surviving from Richmond Barthé's early career. Most of the early plaster works from Barthé's first two Harmon Foundation exhibitions, like West Indian Girl , 1929 are only known today from reproductions. In 1928, Barthé also made a series of historical African American figures in busts including Henry Ossawa Tanner and Touissant L'Ouverture; from this series, Paul Laurence Dunbar and Booker T. Washington are now in the collection of the Virginia Museum of Fine Arts. This charming, life-size portrait was likely made in New York as Barthé arrived in Harlem in February of 1929 and did not return to Chicago until the summer of 1930. While Barthé was the toast of the town in Harlem, he was also preparing for his first solo exhibition sponsored by the Woman's City Club of Chicago planned for June of 1930. He brought back to Chicago 24 sculptures, six oil paintings and eight drawings, including Boy with a Broom . It was such a success that soon after Barthé successfully applied for a Rosenwald Foundation scholarship to return to New York.

We would like to thank art historian and Barthé expert Margaret Rose Vendryes for sharing her notes detailing the sculpture's exhibition history. Vendryes pp 39-46; Schulman p. 84.

Estimate

$25,000 – $35,000

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8

Sargent johnson (1888 - 1967)
Divine Love .

Etching on cream wove paper, circa 1930. 152x114 mm; 6x4½ inches, wide margins. Signed, titled and dated "33" in pencil, lower margin.

Another impression dated 1930 is in the permanent collection of the Metropolitan Museum of Art.

Illustrated: Lizzetta LeFalle-Collins, San Francisco Museum of Art, Sargent Johnson: African American Modernist, plate 7, p. 48 (another impression printed in brown from a 1935 printing).

This scarce print is a beautiful example of Sargent Johnson’s interest in both Modernism and African sculpture. While working on a small scale, Johnson’s imagery elevated the depiction of African American women in fine art to a new level in the 1930s.

Estimate

$5,000 – $7,000

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9

William edouard scott (1884 - 1964)
Untitled (Man with Child Holding Basket) .

Oil on linen canvas, circa 1931. 768x508 mm; 30¼x20 inches. Signed and dated in oil, lower left.

Provenance: the estate of Claude A. Barnett and Etta Moten Barnett, Chicago. Etta Moten Barnett (1901 – 2004) was a popular African American actress and vocalist, who was best known for her signature role of Bess in Porgy and Bess. She married Claude Albert Barnett (1889 – 1967) in 1934. Barnett was an influential and trailblazing national figure - an important media entrepreneur, journalist and one of the principal organizers of the Chicago Negro Exposition in 1940. Barnett is also known as the founder of the Associated Negro Press in 1919, the first Black news service in the country, connecting Black newspapers across the country.

This depiction of a Haitian man and a boy crossing a street is a beautiful and scarce example from William Edouard Scott's early Haitian period. Scott, born in Indianapolis, trained at the Art Institute of Chicago from 1904-09. After winning several painting scholarships and awards at the Institute, he travelled to Paris, where he studied with Henry Ossawa Tanner and enrolled at the Académie Julian. When he returned in 1912, he received many mural commissions, including for the Chicago World's Fair of 1933 and for the Federal Art Project of the WPA in Chicago. While Scott's time in Paris had a profound effect on his early work, the year Scott spent in Haiti shaped the rest of his career.

Scott was awarded a Julius Rosenwald Foundation scholarship in 1931 to study and paint the African beliefs and customs that had survived in the culture of this independent island nation. Scott left for Haiti that year, and did many plein air sketches around the docks and streets of the capitol city Port-au-Prince. These studies were later translated into larger canvases in the artist's rooftop studio of the Excelsior Hotel in Port-au-Prince. With his extensive experience painting murals, Scott specialized in large multi-figure scenes, but painted moving portraits as well. Others include Blind Sister Mary and Kenskoff, Haiti, both circa 1931, collection of the Schomburg Center for Research in Black Culture, the New York Public Library. Schulman p. 86; Taylor/Warkel figs. 17-18, p. 35.

Estimate

$25,000 – $35,000

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10

Hale woodruff (1900 - 1980)
Head of Old Woman.

Linoleum cut on cream wove paper, circa 1930s. 101x154 mm; 4x6 inches, full margins. Signed and titled in pencil, lower margin. A good, early impression of this scarce print.

Another impression is in the permanent collection of the Library of Congress, Washington, DC.

Estimate

$2,000 – $3,000

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11

Hale woodruff (1900 - 1980)
Sunday Promenade .

Linoleum cut on imitation Japan paper, circa 1935. 240x200 mm; 9¾x7¾ inches, wide margins. Artist proof. Signed, titled, dated and inscribed "Artist's Proof" in pencil, lower margin. A later impression, printed circa 1975.

Additional impressions are in the collections of the Philadelphia Academy of the Fine Arts, the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, the High Museum of Art and the National Gallery of Art.

Sunday Promenade portrays the everyday experiences of African Americans in Atlanta, Georgia during the Great Depression. Woodruff explored the pervasive violence of lynching and the mundane suffering of poverty through his works in this series. Here, he conveys liveliness and beauty in a procession of women dressed in their Sunday's best. This linoleum cut is part of a group made over a fifteen year period while Woodruff was teaching at Spelman College from 1931-46.

Estimate

$3,000 – $5,000

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12

Hale woodruff (1900 - 1980)
Returning Home .

Linoleum cut on imitation Japan paper, 1935. 240x200 mm; 9¾x7¾ inches, wide margins. Artist's proof. Signed, titled, dated and inscribed "Artist's Proof" in pencil, lower margin. A later impression, printed circa 1975.

This linoleum cut is part of a group made over a fifteen year period while Woodruff was teaching at Spelman College from 1931-46. There are additional impressions in the permanent collections of the Cleveland Museum of Art, the Museum of Modern Art, New York, and the Nelson-Atkins Museum of Art.

Estimate

$3,000 – $5,000

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13

Joseph delaney (1904-1991)
Pair of Drawings.

Both brush and ink on cream wove paper, circa 1930s. Both 266x190 mm; 10½x7½ inches. Both signed in ink, lower left.

Provenance: private collection, New Orleans.

Estimate

$1,000 – $1,500

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14

Hughie lee-smith (1915 - 1999)
Untitled (Sketch of a Boy) .

Charcoal on thin buff wove paper, 1937. 281x228 mm; 11⅝x9 inches. Signed and dated "Nov. '37" in charcoal, lower right. With numerous artist's notations in pencil at the sheet edges.

Provenance: the estate of the artist; thence by descent to the current owner, private collection.

This intimate drawing of a seated boy appears to be a preliminary study for Hughie Lee-Smith's 1938 oil painting Portrait of a Boy . It is a scarce example of a drawing from his Cleveland period of the late 1930s when Lee-Smith was studying at the Cleveland School of Art and developing an interest in social realism.

Estimate

$6,000 – $9,000

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15

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 studied Martha Graham's dance techniques in an effort to 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

$10,000 – $15,000

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16

James vanderzee (1886 - 1983)
Portrait of Two Brothers and Their Sister .

Silver print, 1931. 191x241 mm; 7½x9½ inches. Signed and numbered XV 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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James vanderzee (1886 - 1983)
The Heiress, Harlem .

Silver print, 1938. 191x241 mm; 7½x9½ inches. Signed and numbered XVII 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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James vanderzee (1886 -1983)
GGG Photo Studio .

Silver print, circa early 1940s. 219x140 mm; 8½x5½ inches. Printed in the 1940s, with the artist’s GGG Photo Studio ink stamp, verso.

This scarce photograph shows the artist’s studio on the ground and first floors at 272 Lenox Avenue in Harlem.

Estimate

$3,000 – $5,000

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19

Wilmer jennings (1910 - 1990)
Shack .

Wood engraving on cream wove paper, circa 1938. 127x101 mm; 203x139 mm; 8x5½ inches, wide margins. Signed, titled and numbered 7/25 in pencil, lower margin.

Born in Atlanta, Georgia, printmaker and designer Wilmer Jennings attended Morehouse College and studied under Hale Woodruff, who introduced him to the principles of modernism. Under the Graphic Arts Division of the WPA in 1934, they worked together on two notable murals that represented the African American experience: The Negro in Modern American Life: Agriculture and Rural Life, Literature, Music, and Art and The Dream. Unfortunately, both murals were destroyed.

After graduating from Morehouse College, Jennings moved to New England to attend the Rhode Island School of Design (1933). Hired by the Rhode Island WPA in 1935, he created works that portrayed the economic hardships of African Americans during the Depression. The subjects of his later work included landscape and social realist scenes of his community. After injuring his right hand in 1957, Jennings began to train himself to draw and paint left-handed, which he continued to do up until the time of his death. Wilmer Jennings's artwork is in the permanent collections of the Rhode Island School of Design Art Museum and The Metropolitan Museum of Art.

Estimate

$2,000 – $3,000

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20

Wilmer jennings (1910 - 1990)
Iris .

Wood engraving on cream wove paper, circa 1938. 127x101 mm; 5x4 inches, wide margins. Signed, titled and numbered 6/25 in pencil, lower margin.

A similar wood engraving by Wilmer Jennings, Growing Corn, 1938 is in the collection of the Detroit Institute of Arts.

Estimate

$1,000 – $1,500

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21

Allan rohan crite (1910 - 2007)
Steal Away Home, I Ain’t Got Long to Stay Here .

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

Provenance: private collection, New Jersey.

This large and beautiful ink drawing by Allan Rohan Crite impressively illustrates the chorus from the spiritual Steal Away (Steal Away to Jesus), one of the many spiritual songs popularized by Fisk University Jubilee Singers.

Estimate

$7,000 – $10,000

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22

Allan rohan crite (1910 - 2007)
Alone in the Big, Wide World (Boy, Girl, Bicycle)

Watercolor, pen and ink on cream wove paper, circa 1939. 381x279 mm; 15x11 inches. Signed in pencil, lower right recto. Signed and inscribed with the artist’s Boston address in pen and ink, lower right verso. Titled in pencil, lower right verso.

Provenance: acquired from Anderson Fine Arts, Jersey City, NJ; private collection (1988).

Estimate

$7,000 – $10,000

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23

Allan rohan crite (1910 - 2007)
The Annunciation .

Brass plaque, with plaster and bronze backing, 1940. 178x140 mm; 7x5½ inches. Inscribed signature and date, lower right recto. With the artist’s typed label on the frame back, signed and numbered (3) in ink.

Provenance: collection of the artist, Boston; the Ness Oleson Trust. The late Frannie Ness and Gary Oleson were the proprietors of Waiting for Godot Books of Hadley, MA, which specialized in rare American and English books, including African American literature.

Estimate

$5,000 – $7,000

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24

Richmond barthé (1909 - 1989)
Untitled (Etta Moten Barnett) .

Pastel on cream wove paper, circa 1940. 685x558 mm; 27x22 inches. Signed in pastel, lower right.

Provenance: the estate of Claude A. Barnett and Etta Moten Barnett, Chicago.

Illustrated: Langston Hughes. The Negro Speaks of Rivers. As Sung by Etta Moten. Music by Margaret Bonds, Words by Langston Hughes. New York: Handy Brothers Music, 1942, cover illustration. This drawing is reproduced on the cover of this printed sheet music. A photograph of this drawing is also located in Photographs of Prominent African Americans, James Weldon Johnson Collection in the Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library, Yale University.

Etta Moten Barnett (1901 - 2004) was a popular African American actress and vocalist, who was best known for her signature role of Bess in Porgy and Bess . She married Claude Albert Barnett (1889 - 1967) in 1934. Barnett was an influential and trailblazing national figure - an important media entrepreneur, journalist and one of the principal organizers of the Chicago Negro Exposition in 1940. Barnett is also known as the founder of the Associated Negro Press in 1919, the first Black news service in the country, connecting Black newspapers across the country. By 1950 Barnett's news organization had became an influential international news source. The Barnetts travelled the world together - he frequently to report on African events for the ANP. In March 1957, Moten Barnett interviewed Dr. Martin Luther King, Jr. in Accra, Ghana, when the Barnetts, along with Vice President Richard Nixon, attended the celebration of Ghana's independence from Great Britain.

Estimate

$5,000 – $7,000

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25

Richmond barthé (1909 - 1989)
Untitled (Etta Vee Barnett) .

Pastel on cream wove paper, circa 1940. 685x558 mm; 27x22 inches. Signed in pastel, lower right.

Provenance: the estate of Claude A. Barnett and Etta Moten Barnett, Chicago.

Etta Vee Barnett is the youngest daughter of Etta Moten Barnett and her first husband Curtis Brooks. Richmond Barthé was a friend and regular visitor at the Barnett household.

Estimate

$5,000 – $7,000

Postwar