Harlem Renaissance / Modern

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

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

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Lot 4
JAMES VANDERZEE (1886 - 1983)
Native American Couple.

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Lot 5
WILLIAM A. HARPER (1873 - 1910)
Untitled (French Landscape).

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Lot 6
LAURA WHEELER WARING (1887 - 1948)
Saint-Jean-Pied-de-Port, France.

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Lot 7
JAMES VANDERZEE (1886 - 1983)
Untitled (Portrait of a Boy in a Sailor Suit).

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Lot 8
JAMES VANDERZEE (1886 - 1983)
Couple in Raccoon Coats, 1932 (Couple, Harlem).

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Lot 9
LAURA WHEELER WARING (1887 - 1948)
Still Life with Fruit and Flowers.

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Lot 10
BEULAH WOODARD (1895 - 1955)
African Woman.

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Lot 11
HALE WOODRUFF (1900 - 1980)
A Youth.

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Lot 12
SAMUEL JOSEPH BROWN (1907 - 1994)
Writing Lesson.

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Lot 13
WILLIAM E. SMITH (1913 - 1997)
Pay Day.

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Lot 14
HUGHIE LEE-SMITH (1915 - 1999)
Untitled.

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Lot 15
HUGHIE LEE-SMITH (1915 - 1999)
Man Sitting.

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Lot 16
HUGHIE LEE-SMITH (1915 - 1999)
Untitled (Policeman Beating Man and Protestor with Sign).

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Lot 17
AUGUSTA SAVAGE (1892 - 1962)
Lift Every Voice and Sing (The Harp).

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Lot 18
RICHMOND BARTHÉ (1901 - 1989)
Julius.

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Lot 19
ALLAN ROHAN CRITE (1910 - 2007)
The Annunciation.

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Lot 20
JOSEPH DELANEY (1904 - 1991)
Portrait of a Woman in Windsor Chair.

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Lot 21
JOSEPH DELANEY (1904 - 1991)
Untitled (Still Life with Flowers and Chinese Plate).

Post-War

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Lot 22
JOHN WILSON (1912 - 2015)
Interrogation (Study for Lithograph).

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Lot 23
ELIZABETH CATLETT (1915 - 2012)
Domestic Worker.

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Lot 24
ELIZABETH CATLETT (1915 - 2012)
...special houses.

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Lot 25
NORMAN LEWIS (1909 - 1979)
Untitled (Two Seated Figures)

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Lot 26
NORMAN LEWIS (1909 - 1979)
Untitled.

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Lot 27
CHARLES SEBREE (1914 - 1985)
Untitled (Portrait).

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Lot 28
RICHMOND BARTHÉ (1901 - 1989)
Toussaint L'Ouverture.

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Lot 29
MARION PERKINS (1908 - 1961)
Untitled (Head of a King).

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Lot 30
JOHN WILSON (1922 - )
Boulevard de Strasbourg.

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Lot 31
JACOB LAWRENCE (1917 - 2000)
Westchester Graduation Ball.

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Lot 32
JOHN BIGGERS (1924 - 2001)
Untitled (Study for the Word).

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Lot 33
JOHN WILSON (1922 - 2015)
Mother and Child.

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Lot 34
CHARLES WHITE (1918 - 1979)
Folk Singer.

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Lot 35
AARON DOUGLAS (1899 - 1979)
Untitled (Landscape).

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Lot 36
HUGHIE LEE-SMITH (1915 - 1999)
Untitled (Woman with Pearl Choker).

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Lot 37
HAROLD COUSINS (1916 - 1992)
Viking.

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Lot 38
EMILIO CRUZ (1938 - 2004)
Untitled (Abstraction in Red).

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Lot 39
NORMAN LEWIS (1909 - 1979)
Joiners.

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Lot 40
NORMAN LEWIS (1909 - 1979)
Untitled.

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Lot 41
HALE WOODRUFF (1900 - 1980)
Vertical Motion.

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Lot 42
FELRATH HINES (1913 - 1993)
Bouquet.

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Lot 43
NORMAN LEWIS (1909 - 1979)
Untitled (Processional Composition Study.)

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Lot 44
EARL HOOKS (1927 - 2005)
Untitled.

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Lot 45
ROMARE BEARDEN (1911 - 1988)
Wine Star.

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Lot 46
BEAUFORD DELANEY (1901 - 1979)
Ciel.

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Lot 47
NORMAN LEWIS (1909 - 1979)
Untitled.

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Lot 48
CHARLES ALSTON (1907 - 1977)
Black and White #3 (Astral #3).

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Lot 49
SAM MIDDLETON (1927 - 2015)
Untitled (Black and White).

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Lot 50
SAM MIDDLETON (1927 - 2015)
Untitled (Black and White).

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Lot 51
SAM MIDDLETON (1927 - 2015)
Paris.

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Lot 52
BETYE SAAR (1926 - )
Lo, the Pensive Peninsula.

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Lot 53
BETYE SAAR (1926 - )
Flight.

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Lot 54
JAMES LESESNE WELLS (1902 - 1993)
Carousel.

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Lot 55
CALVIN BURNETT (1921 - 2007)
Study for Self Portrait as a Teenage Girl.

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Lot 56
CHARLES SEARLES (1937 - 2004)
Reclining Nude.

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Lot 57
EMILIO CRUZ (1938 - 2004)
Untitled (Nudes).

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Lot 58
CHARLES WHITE (1918 - 1979)
Nude.

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Lot 59
CHARLES WHITE (1918 - 1979)
Juba.

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Lot 60
JOHN BIGGERS (1924 - 2001)
The Word.

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Lot 61
KERMIT OLIVER (1943 - )
Burnt Church.

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Lot 62
SAMELLA LEWIS (1924 - 2022)
Migrants.

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Lot 63
ELIZABETH CATLETT (1915 - 2012)
Rebozos.

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Lot 64
WILLIAM E. ARTIS (1914 - 1977)
Untitled (Vessel).

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Lot 65
NORMAN LEWIS (1909 - 1979)
Untitled (Abstraction in Orange).

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Lot 66
HALE WOODRUFF (1900 - 1979)
Landscape.

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Lot 67
MAVIS PUSEY (1928 - 2019)
Dissolution of X.

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Lot 68
MAVIS PUSEY (1928 - 2019)
The City of Distracting Images.

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Lot 69
RUTH G. WADDY (1909 - 2003)
Untitled #2.

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Lot 70
RUTH G. WADDY (1909 - 2003)
The Key.

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Lot 71
HERMAN KOFI BAILEY (1931 - 1981)
Untitled (Portrait in Green).

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Lot 72
MAVIS PUSEY (1928 - 2019)
Bridge Workers.

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Lot 73
LEV MILLS (1938 - 2021)
Contamination.

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Lot 74
CLIFF JOSEPH (1922 - 2020)
Rise People Rise.

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Lot 75
ALVIN HOLLINGSWORTH (1928 - 2000)
Untitled (Cityscape with Figure).

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Lot 76
JACOB LAWRENCE (1917 - 2000)
Chess Players.

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

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Lot 78
HUGHIE LEE-SMITH (1915 - 1999)
Apples and Bananas.

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Lot 79
LOUIS SLOAN (1932 - 2008)
The Red Sea.

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Lot 80
LOUIS SLOAN (1932 - 2008)
The Fishermen.

Contemporary - 1st Generation

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Lot 81
FRANK WIMBERLEY (1926 - )
Untitled.

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Lot 82
FRANK WIMBERLEY (1926 - )
Edythe.

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Lot 83
SAM GILLIAM (1933 - 2022)
Untitled.

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Lot 84
NORMAN LEWIS (1909 - 1979)
The Red Umbrella.

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Lot 85
VICTOR SEACH (1918 - 1991)
Untitled.

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Lot 86
ELAINE CROSSLEY (1925 - 1996)
Untitled (Abstraction).

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Lot 87
ROMARE BEARDEN (1911 - 1988)
Carolina Blue (Interior).

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Lot 88
ROMARE BEARDEN (1911 - 1988)
Carolina Memories (Tidings).

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Lot 89
BENNY ANDREWS (1930 - 2006)
Circle Study #30.

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Lot 90
CAMILLE BILLOPS (1933 - 2019)
Saying it to You.

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Lot 91
NATHANIEL (SONNY) BUSTION (1942 - )
Untitled.

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Lot 92
ROMARE BEARDEN (1911 - 1988)
Prevalence of Ritual.

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Lot 93
ROMARE BEARDEN (1911 - 1988)
Salome.

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Lot 94
ROMARE BEARDEN (1911 - 1988)
Baptism.

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Lot 95
GEORGE L. WILSON (1930 - 2003)
Youthful Session.

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Lot 96
JOSEPH HOLSTON (1944 - )
Untitled (Boy in a Cap).

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Lot 97
ANTHONY BARBOZA (1944 - )
James Baldwin - Writer.

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Lot 98
ANTHONY BARBOZA (1944 - )
James Vanderzee - Photographer.

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Lot 99
RICHARD MAYHEW (1924 - )
Moody Space Blues.

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Lot 100
BARKLEY L. HENDRICKS (1945 - 2017)
Untitled (Cape Coast, Ghana).

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Lot 101
ROMARE BEARDEN (1911 - 1988)
The Family.

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Lot 102
ROMARE BEARDEN (1911 - 1988)
Come Sunday (Mother and Child).

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Lot 103
ELDZIER CORTOR (1916 - 2015)
Dance (Dance Composition No. 31).

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Lot 104
JACOB LAWRENCE (1917 - 2000)
The Library.

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Lot 105
ROMARE BEARDEN (1911 - 1988)
Pilate.

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Lot 106
ERNEST CRICHLOW (1914 - 2005)
Young Lady in a Yellow Dress.

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Lot 107
EMMA AMOS (1937 - 2020)
Woman With Hat.

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Lot 108
NELSON STEVENS (1938 - 2022)
Untitled (Women in Profile).

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Lot 109
BARKLEY HENDRICKS (1945 - 2017)
Salvation Army Joyce on 78 Agreed.

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Lot 110
JAMES LITTLE (1952 - )
Untitled.

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Lot 111
FRANK W. WIMBERLEY (1926 - )
Untitled.

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Lot 112
ED CLARK (1926 - 2019)
Untitled.

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Lot 113
ED CLARK (1926 - 2019)
Untitled.

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Lot 114
MOE BROOKER (1940 - 2022)
This One’s For You, Musa.

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Lot 115
JOHN DOWELL (1941 - )
To Move To Yesterday.

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Lot 116
ROMARE BEARDEN (1911 - 1988)
Morning of the Rooster.

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Lot 117
ROMARE BEARDEN (1911 - 1988)
Two Women.

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Lot 118
JACOB LAWRENCE (1917 - 2000)
Hiroshima.

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Lot 119
NEFERTITI GOODMAN (1950 - )
The Aftermath.

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Lot 120
ELIZABETH CATLETT (1915 - 2012)
Survivor.

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Lot 121
MARGARET BURROUGHS (1915 - 2010)
Mahalia.

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Lot 122
ROMARE BEARDEN (1911 - 1988)
High Priestess.

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Lot 123
ROMARE BEARDEN (1911 - 1988)
Obeah.

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Lot 124
JOHN BIGGERS (1924 - 2001)
Untitled (Study of a Gourd.).

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Lot 125
GEORGE ROGERS (1930 - 2002)
Untitled (Sculptural Fabric Collage Composition).

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Lot 126
GEORGE ROGERS (1930 - 2002)
Sculpturegraph #4.

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Lot 127
CHARLES SEARLES (1937 - 2004)
Untitled (Sculpture Study).

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Lot 128
CHARLES SEARLES (1937 - 2004)
Untitled (Sculpture Study).

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Lot 129
SYLVIA SNOWDEN (1942 - )
Diptych.

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Lot 130
SAM GILLIAM (1933 - 2022)
After Smoke.

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Lot 131
SAM MIDDLETON (1927 - 2015)
Music.

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Lot 132
ELIZABETH CATLETT (1915 - 2012)
Pensive.

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Lot 133
ELIZABETH CATLETT (1915 - 2012)
On the Subway.

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Lot 134
ELIZABETH CATLETT (1915 - 2012)
Cartas.

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Lot 135
JACOB LAWRENCE (1917 - 2000)
Schomburg Library.

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Lot 136
JACOB LAWRENCE (1917 - 2000)
The Birth of Toussaint.

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Lot 137
JACOB LAWRENCE (1917 - 2000)
The Capture.

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Lot 138
JACOB LAWRENCE (1917 - 2000)
To Preserve Their Freedom.

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Lot 139
JACOB LAWRENCE (1917 - 2000)
Dondon.

Contemporary - 2nd Generation

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Lot 140
FREDERICK J. BROWN (1945 - 2012)
Father Forgive Them.

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Lot 141
JONATHAN GREEN (1955 - )
Lady Sun Bathers.

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Lot 142
JONATHAN GREEN (1955 - )
The Reception.

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Lot 143
HUGHIE LEE-SMITH (1915 - 1999)
The Promise.

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Lot 144
LORRAINE O'GRADY (1934 - )
Group of 4 Photographs (From Rivers, First Draft).

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Lot 145
CARRIE MAE WEEMS (1953 - )
Untitled (Woman and Daughter with Makeup).

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Lot 146
EMMA AMOS (1937 - 2020)
Howardena.

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Lot 147
MARGARET BURROUGHS (1915 - 2010)
African Mask.

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Lot 148
JOHN T. SCOTT (1940 - 2007)
Storm’s Coming #2.

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Lot 149
JOHN BIGGERS (1924 - 2001)
Family Ark.

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Lot 150
ELIZABETH CATLETT (1915 - 2012)
For My People.

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Lot 151
ELIZABETH CATLETT (1915 - 2012)
Playmates.

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Lot 152
ELIZABETH CATLETT (1915 - 2012)
The Immortal.

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Lot 153
HUGHIE LEE-SMITH (1915 - 1999)
Woman In Green Blouse with Two Abstract Masks.

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Lot 154
HUGHIE LEE-SMITH (1915 - 1999)
Woman's Profile with Mask in Abstract Ground.

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Lot 155
LORNA SIMPSON (1960 - )
Untitled [What Should Fit Here Is An Oblique Story...].

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Lot 156
LORNA SIMPSON (1960 - )
Untitled.

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Lot 157
MERTON D. SIMPSON (1928 - 2013)
#1 Performer.

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Lot 158
AL LOVING (1935 - 2005)
Untitled.

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Lot 159
SAM GILLIAM (1933 - 2022)
Pretty Boxes.

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Lot 160
SAM GILLIAM (1933 - 2022)
Florida 1.

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Lot 161
SAM GILLIAM (1933 - 2022)
Hav-A-Tampa 16.

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Lot 162
SAM GILLIAM (1933 - 2022)
Dakota Beach.

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Lot 163
LOÏS MAILOU JONES (1905 - 1998)
Route de Civadier.

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Lot 164
SAMELLA LEWIS (1924 - 2022)
Creole Mules.

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Lot 165
SAMELLA LEWIS (1923 - 2022)
Cleo.

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Lot 166
NOAH PURIFOY (1917 - 2004)
Untitled (30 Cans).

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Lot 167
NOAH PURIFOY (1917 - 2004)
Untitled.

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Lot 168
NOAH PURIFOY (1917 - 2004)
Untitled (Domino Toaster).

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Lot 169
FAITH RINGGOLD (1930 - )
The Sunflower's Quilting Bee at Aries.

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Lot 170
EMMA AMOS (1938 - 2020)
On Top of the World.

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Lot 171
MELVIN W. CLARK (1944 - )
Study for Enchanted Dreams Mural.

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Lot 172
NANETTE CARTER (1954 - )
Point-Counterpoint #6.

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Lot 173
ED CLARK (1926 - 2019)
Untitled (For the Sake of the Search).

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Lot 174
SAM GILLIAM (1933 - 2022)
Horses Upside Down.

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Lot 175
SAM GILLIAM (1933 - 2022)
Manet.

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Lot 176
MILDRED THOMPSON (1936 - 2003)
Advancing Impulses 36.

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Lot 177
JANET TAYLOR PICKETT (1948 - )
Patterns & Perception.

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Lot 178
HUGHIE LEE-SMITH (1915 - 1999)
The End (The Pink Door).

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Lot 179
WINFRED REMBERT (1945 - 2021)
Jeff's Cafe & Pool Room and Zeb's Shoe Shine.

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Lot 180
WINFRED REMBERT (1945 - 2021)
Winfred Rembert and Class of 1959.

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Lot 181
WINFRED REMBERT (1945 - 2021)
The Book That Couldn’t Be Read.

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Lot 182
SAMELLA LEWIS (1924 - 2022)
Untitled (Dancers).

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Lot 183
FAITH RINGGOLD (1930 - )
Under a Blood Red Sky.

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Lot 184
BETYE SAAR (1926 - )
Bookmarks in the Pages of Life.

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Lot 185
BETYE SAAR (1926 - )
Mother Catherine.

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Lot 186
BETYE SAAR (1926 - )
Bone of Contention.

Contemporary - Now

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Lot 187
RASHID JOHNSON (1977 - )
Larry.

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Lot 188
KARA WALKER (1969 - )
The Emancipation Approximation (Scene #26).

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Lot 189
KARA WALKER (1969 - )
Freedom, A Fable: A Curious Interpretation of the Wit of a Negress in Troubled Times.

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Lot 190
KARA WALKER (1969 - )
The Bush, Skinny, De-boning.

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Lot 191
KARA WALKER (1969 - )
Testimony (Portfolio).

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Lot 192
ELLEN GALLAGHER (1965 - )
Bouffant Pride.

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Lot 193
ELLEN GALLAGHER (1965 - )
Duke.

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Lot 194
GLENN LIGON (1960 - )
Boy on Tire.

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Lot 195
DAVID DRISKELL (1931 - 2020)
The Bassist.

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Lot 196
FAITH RINGGOLD (1930 - )
Somebody Stole My Broken Heart.

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Lot 197
BISA BUTLER (1973 - )
Sea Island Woman.

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Lot 198
ERIC MACK (1976 - )
Untitled.

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Lot 199
SAM GILLIAM (1933 - 2022)
Fire on Water, VIII.

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Lot 200
SAM GILLIAM (1933 - 2022)
Mary Ann.

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Lot 201
MELVIN EDWARDS (1937 - )
Premonitions.

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Lot 202
XENOBIA BAILEY (1955 - )
Think (Study for MTA Hudson Yards).

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Lot 203
DANNY SIMMONS (1953 - )
Circle Game.

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Lot 204
CHERYL WARRICK (1956 - )
Untitled.

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Lot 205
CHERYL WARRICK (1956 - )
Untitled.

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Lot 206
CLAUDE LAWRENCE (1944 - )
The Lean.

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Lot 207
CLAUDE LAWRENCE (1944 - )
Untitled 2.

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Lot 208
LATOYA RUBY FRAZIER (1982 - )
Grandma Ruby and Me in Her Livingroom.

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Lot 209
DEBORAH WILLIS (1948 - )
I Made Space for a Good Man.

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Lot 210
HANK WILLIS THOMAS (1976 - )
Negroes to be Sold.

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Lot 211
WILLIE COLE (1955 - )
¡No mas!

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Lot 212
WILLIE COLE (1955 - )
Home Mark.

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Lot 213
FAITH RINGGOLD (1930 - )
Big Black.

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Lot 214
KERRY JAMES MARSHALL (1955 - )
Keeping the Culture.

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Lot 215
THEASTER GATES (1973 - )
Bitch, I Made This Pot.

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Lot 216
MICHAEL CUMMINGS (1945 - )
Freedom.

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Lot 217
DAVID DRISKELL (1931 - 2020)
Accent of Autumn.

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Lot 218
ANDY ROBERT (1984 - )
Flint.

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Lot 219
GLENN LIGON (1960 - )
Untitled (America).

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Lot 220
HANK WILLIS THOMAS (1976 - )
All Li es Matter.

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Lot 221
FREDDIE STYLES (1944 - )
Silver Series (Blue).

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Lot 222
CHAKAIA BOOKER (1953 - )
Untitled (CB.1.21).

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
Shanell Kitt, Administrator

Shanell Kitt
Administrator

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

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

Kelsie Jankowski
Communications Manager

kjankowski@swanngalleries.com

Harlem Renaissance / Modern

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1

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

Oil on canvas, mounted on board, circa 1880-81. Approximately 267x254 mm; 10½x10 inches. Signed in oil, lower left recto. With a cropped oil study of a nude on the verso of the board.

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.

Henry Ossawa Tanner painted Head of a Sheep early in his studies at the Pennsylvania Academy of the Fine Arts when he cultivated the speciality of painting animals. With the support of his parents and inspiration from the 1876 Philadelphia Exposition, 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

$7,000 – $10,000

Request Condition Report
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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 105/120 in ink, verso. With the artist’s estate ink stamp, verso.

Estimate

$3,000 – $5,000

Request Condition Report
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3

James vanderzee (1886 - 1983)
Mrs. Turner, Lenox, Mass.

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

Estimate

$2,000 – $3,000

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4

James vanderzee (1886 - 1983)
Native American Couple.

Silver print, 1907. 120x88 mm; 4¾x3½ inches. Signed and dated in pencil, verso.

This scarce and early Vanderzee photograph shows a male and female duo dressed in Indigenous American regalia. Another example of this photograph is in the collection of the Pennsylvania Academy of the Fine Arts.

Estimate

$3,000 – $5,000

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5

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

Oil on canvas, mounted on board, circa 1907-08. 330x406 mm; 13x16 inches. Signed in oil, lower right.

Provenance: the Decatur Art Center; Millikan University, Decatur (1969); private collection, Illinois (2020).

William A. Harper painted this beautiful, pastoral landscape on the outskirts of Paris during his second French trip. Like fellow landscape painters Edward M. Bannister and James Bolivar Needham, Harper was born in Canada; his family moved from Ontario to Illinois in 1885. Harper attended the Art Institute of Chicago from 1895 - 1901, working as a nightwatch man and janitor to pay for his tuition. Graduating with honors, he then studied in Paris from 1903 - 1905 at the Académie Julian following in Henry Ossawa Tanner's footsteps, and was greatly influenced by the Barbizon School. In 1905, Harper earned the Municipal Art League's blue ribbon at the Art Institute of Chicago for nine of his paintings. On a return trip to France from 1907-08, Harper studied informally with Tanner and his paintings became more Impressionist. 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. Today, his paintings are in the collections of the Metropolitan Museum of Art, the National Gallery (The Evans-Tibbs Collection), the National Museum of African American History and Culture, Smithsonian Institution, the Columbus Museum of Art, the DuSable Black History Museum and Education Center, the Flint Institute of Fine Arts, Tuskegee University, the Harmon and Harriet Kelley Foundation for the Arts and the Walter O. Evans Collection of African American Art. Barnwell p. 157; Kennedy p. 119.

Estimate

$6,000 – $9,000

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6

Laura wheeler waring (1887 - 1948)
Saint-Jean-Pied-de-Port, France.

Oil on board, circa 1925. 165x215 mm; 6½x8½ inches. Signed, titled, and inscribed with the artist’s studio address “756 N. 43rd St., Philadelphia, PA” in ink, frame back.

Provenance: private collection, Philadelphia.

Exhibited:Black Matri-Images, Morgan State College Gallery of Art (now known as the James E. Lewis Museum of Art), Baltimore, MD, December 3, 1972 - January 15, 1973, with gallery label on the frame back.

Saint-Jean-Pied-de-Port, France is an impressionistic painting by Laura Wheeler Waring completed while she was traveling through southwestern France. Completed the same year as The Houses of Semur, 1925, this work is of a hilly and very scenic commune in the Pyrénées foothills. Saint-Jean-Pied-de-Port was a popular stop for pilgrims en route to Santiago de Compostela in Spain.

Estimate

$4,000 – $6,000

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7

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

Silver print, 1927. 177x127 mm; 7x5 inches. Signed, titled, dated and inscribed “Copyright 1969 by James VanDerZee All Rights Reserved, Vintage Print, Certified Donna VanDerZee” in pencil with James VanDerZee’s “G.G.G. Photo Studio, Inc., 109 West 135th St.” ink stamp, verso.

Estimate

$2,000 – $3,000

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8

James vanderzee (1886 - 1983)
Couple in Raccoon Coats, 1932 (Couple, Harlem).

Silver print, 1932. 95x119 mm; 3¾x4⅝ inches. Initialed, titled and dated '81 in pencil on the mount. Printed in 1981.

This photograph of a Harlem couple dressed in fur with their Cadillac on West 127th Street is VanDerZee's most iconic image.

Estimate

$2,000 – $3,000

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9

Laura wheeler waring (1887 - 1948)
Still Life with Fruit and Flowers.

Oil on linen canvas, circa 1930s. 546x711 mm; 21½x28 inches. Signed in pencil, upper right recto. Inscribed with the artist’s studio address “756 N. 43rd St., Philadelphia, PA” in ink, verso.

Provenance: private collection, Philadelphia.

This modernist still life is a scarce example of Laura Wheeler Waring’s painting from the early 1930s. It displays Waring’s painterly exploration within the bounds of traditional genre painting, and the influence of post-Impressionism on her development. One of her larger and best known works from the period is the exuberant floral painting Still Life, 1928, which was once in the Evan-Tibbs Collection of Washington, DC.

Waring began painting watercolors in her early teens and won several awards before graduating from the Hartford Public High School in 1906 and the Pennsylvania Academy of Fine Arts, in 1914. Her distinguished career included two periods of study in Paris. The first sojourn was interrupted by the beginning of World War I, and she eventually returned to Paris in June 1924. This second period is widely regarded as a turning point in her style as well as her career. Waring painted portraits until October when she enrolled for a year of painting study at the Académie de la Grande Chaumière. There she studied with Boutet de Monvel and met Henry Ossawa Tanner and Gwendolyn Bennett - enjoying her “only period of uninterrupted life as an artist with an environment and associates that were a constant stimulus and inspiration. My savings, however, would not allow me to continue this life indefinitely.” In addition to the Harmon Foundation in New York, Waring exhibited at the Pyramid Club in Philadelphia and Howard University through the 1940s. Her paintings today are in the collections of the Smithsonian American Art Museum, the National Portrait Gallery and Howard University. Sharpley-Whiting pp. 86-87.

Estimate

$20,000 – $30,000

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10

Beulah woodard (1895 - 1955)
African Woman.

Oil on cotton canvas, circa 1935. 610x508 mm; 24x20 inches.

Provenance: the Golden State Mutual Life Insurance Company, Los Angeles, sold at Swann Galleries on October 4, 2007; private collection, Pennsylvania.

Exhibited: Los Angeles County Museum of Art, 1935.

Beulah Woodard was the first significant African American female artist working on the West Coast. This very rare example of Woodard’s painting was exhibited in her important one-woman show of sculpture and painting at the Los Angeles County Museum in 1935, the first solo exhibition there for an African American. According to Lizzetta LeFalle-Collins, African Woman is likely a portrait of Maudelle Bass Weston, the dancer and model who also posed for the ceramic bust entitled Maudelle. Thousands visited the exhibition, and Los Angeles newspapers and the Associated Press covered the story. Her portraits of African people are noted for their realism and attention to detail; this is one of only a few known paintings.

Estimate

$7,000 – $10,000

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11

Hale woodruff (1900 - 1980)
A Youth.

Linoleum cut on wove paper, 1934. 108x77 mm; 4¼x3⅜ inches, wide margins. Signed and titled in pencil, lower margin. A later impression, printed in the 1970s.

In 1931, Hale Woodruff was hired by Dr. John Hope to found the art department of Atlanta University, teaching undergraduate students at Morehouse College and Spelman College. Between 1931 and the mid 1940s, he also created a series of linoleum block prints that showed the experiences of African Americans and scenes around Atlanta. Another impression of this scarce print, titled Georgia Youth, is in the Kinsey African American Art & History Collection and Foundation.

Estimate

$3,000 – $5,000

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12

Samuel joseph brown (1907 - 1994)
Writing Lesson.

Lithograph on cream wove paper, 1937. 219x193 mm; 8⅝x7⅝ inches, full margins. Signed and titled in pencil, lower margin. Published by Works Progress Administration (WPA), Federal Art Project, Philadelphia.

Additional impressions are in the collections of the Art Institute of Chicago, the Pennsylvania Academy of the Fine Arts and the Philadelphia Museum of Art.

Born in Wilmington, NC, Samuel Joseph Brown studied at the Philadelphia Museum of Art, the School of Industrial Art (now the University of the Arts) and received a Master of Arts equivalent degree from the University of Pennsylvania. He began teaching for the Philadelphia public school system in 1938, and was there for over 35 years. Brown participated in the Federal Art Project of the WPA from 1933 - 1948, and his work was praised by Eleanor Roosevelt.

Estimate

$2,000 – $3,000

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13

William e. smith (1913 - 1997)
Pay Day.

Linoleum cut on thin wove paper, 1938. 206x152 mm; 8⅛x6 inches, wide margins. Signed, titled, dated and numbered 16/20 in pencil, lower margin. A good, dark impression of this scarce, early print.

Smith made another linoleum cut of this subject, with the pose reversed; impressions dated 1941 are in the collections of Hampton University, VA, and Harmon and Harriet Kelley, San Antonio.

Estimate

$2,000 – $3,000

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14

Hughie lee-smith (1915 - 1999)
Untitled.

Watercolor on thin Japan paper, 1936. 216x224 mm; 8½x8 7/8 inches. Signed in pencil, lower left.

Provenance: Drs. L. Morris and Adrienne L. Jones; thence by descent, private collection, New Jersey. L. Morris Jones, M.D. (1929 - 2015) and Adrienne Lash Jones, Ph.D. (1935 - 2018) married in 1957 and moved to Cleveland in 1958. Dr. Lash Jones was a tenured professor of Africana studies at Oberlin College, where she became head of the Africana department (formerly known as Black Studies) for 20 years. Lash Jones became a prominent figure in the Cleveland art scene - including being a long time board member of the Cleveland Museum of Art and Karamu House - where she championed countless efforts to support Black art and culture.

Illustrated: Leslie King-Hammond,Hughie Lee-Smith (The David C. Driskell Series of African American Art, Volume VIII, plate 4, p. 4.

This extremely scarce work on paper is the earliest painting we have located that displays Hughie Lee-Smith’s interest in depicting isolated figures in an urban landscape. In 1936, Hughie Lee-Smith was in his second year as a student at the Cleveland School of Art where he was awarded a scholarship by the Gilpin Players at Karamu Theater and Settlement House. As part of his scholarship, he also taught art at Karamu House in Cleveland until 1939, alongside other artists Charles Sallée, Elmer Brown, and William E. Smith. Lee-Smith graduated with honors in 1938, and then won a scholarship to continue studying for a fifth year. Lee-Smith’s noteworthy rise was recognized by his inclusion in Alain Locke’s The Negro in Art, published in 1940.

Estimate

$7,000 – $10,000

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15

Hughie lee-smith (1915 - 1999)
Man Sitting.

Graphite and pencil on buff wove paper, 1938. 305x229 mm; 12x9 inches. Signed and dated in pencil, lower center.

Provenance: the estate of the artist; thence by descent to a private collection.

Estimate

$6,000 – $9,000

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16

Hughie lee-smith (1915 - 1999)
Untitled (Policeman Beating Man and Protestor with Sign).

Pencil on buff wove paper, 1938. 177x133 mm; 7x5¼ inches. Signed and dated in pencil, lower right.

Provenance: the estate of the artist; thence by descent to a private collection.

Exhibited: Stages of Influence: The Universal Theatre of Hughie Lee-Smith, University of New Mexico Art Museum, Albuquerque, NM, February 6 - June 3, 2001.

Hughie Lee-Smith drew this striking image of the police violently breaking up protests in 1938. His sketchbook included many Depression-era scenes of workers and food lines. That same year, Hughie Lee-Smith graduated with honors from the Cleveland School of Art, and worked for the Federal Arts Project of the Ohio Works Progress Administration as a printmaker from 1938-40. While working for the WPA, Lee-Smith developed his interest in social realism and documented the civic unrest he saw. Lee-Smith incorporated a similar scene in his 1939 lithograph Artist Life #2.

Estimate

$5,000 – $7,000

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17

Augusta savage (1892 - 1962)
Lift Every Voice and Sing (The Harp).

Cast white metal painted gold, 1939. Approximately 270x240x100 mm; 10¾x9½x4 inches. Stamped signature and “Worlds Fair 1939” at the base. Published by Augusta Savage Studios, Inc., New York, with the studio printed paper label on the base underside.

Provenance: Daniel Webster Perkins, Esq., Jacksonville, FL; thence by descent, private collection, Florida.

Daniel Webster Perkins (1879 - 1972) was a prominent attorney in Florida and one of the state’s first African American lawyers, having been officially admitted to the Florida Bar in 1914. After practicing law in Knoxville, Tennessee and Tampa, Florida, he settled in Jacksonville in 1919, where he practiced until his death in 1972. Mr. Perkins was a strong proponent of civil rights and a community leader; in 1968, the former Colored Lawyers Association of Jacksonville changed its name to the D.W. Perkins Bar Association in honor of Perkins, who had been a founding member. During a family vacation to the 1939 World’s Fair, Perkins purchased Savage’s souvenir replica.

Exhibited: Through Our Eyes 2000; Lift Every Voice and Sing, the Ritz Theatre LaVilla Museum, Jacksonville, Florida, February 8, 2000.

Augusta (Christine Fells) Savage was born in Green Cove Springs, just south of Jacksonville. After first exhibiting her sculpture in Palm Beach and Jacksonville, Savage moved to New York to study sculpture. She was admitted to the Cooper Union School of Art in 1921, and completed the four year course in three years. In 1929 and 1931, Savage was the recipient of two successive Rosenwald Grants, which enabled her to travel to France and study at the Académie de la Grande Chaumière in Paris. When she returned to New York in 1932, she opened the Savage School of Arts and Crafts in Harlem, where her students included William Artis, Jacob Lawrence and Norman Lewis. In 1935, she was a founding member of the Harlem Artists Guild, and from 1936 - 1937 she worked for the WPA Federal Arts Project as the Director of the Harlem Community Art Center.

A life-size version of Lift Every Voice and Sing was commissioned by the 1939 New York World’s Fair committee in 1937. Savage left the WPA to work on this monumental project, inspired by Jacksonville brothers James Weldon and Rosamund Johnson’s anthem Lift Every Voice. Her iconic sculpture stood almost 16-foot high, in painted, cast plaster on the grounds of the fair. Sadly, the original work was destroyed when the fair was over - it is known today only from photographs and these smaller versions which were cast by the artist to be sold as souvenirs.

Estimate

$8,000 – $12,000

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18

Richmond barthé (1901 - 1989)
Julius.

Painted plaster on a wooden base, circa 1940. 190x114x102 mm; 7½x4½x4 inches (not including base). Incised with the artist's signature, backside of head. A later cast, made in Jamaica in the 1960s.

Provenance: acquired directly from the artist in Jamaica, private collection; thence by descent, private collection.

This bust was originally commissioned by the photographer Carl Van Vechten, Richmond Barthé’s friend. The young boy Julius was Van Vechten's housekeeper’s nephew. In October of 1940, Van Vechten photographed the sculpture decorated with a feather headress - images are in the Carl Van Vechten Papers, in the Beinecke Rare Book and Manuscript Library at Yale University. A bronze cast of Julius is in the collection of the Pennyslyvania Academy of the Fine Arts, Philadelphia.

Estimate

$5,000 – $7,000

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19

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

$2,500 – $3,500

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20

Joseph delaney (1904 - 1991)
Portrait of a Woman in Windsor Chair.

Oil on masonite board, circa 1940. 787x597 mm; 31x23½ inches. Signed in oil, lower left.

Provenance: the estate of the artist; private collection.

This striking painting is an excellent, early example of Joseph Delaney’s portraiture. His direct, expressive approach conveys the immediacy of the sitting. The Windsor chair is also the same chair that Georgia O’Keefe used in Beauford Delaney’s portrait.

Estimate

$15,000 – $25,000

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21

Joseph delaney (1904 - 1991)
Untitled (Still Life with Flowers and Chinese Plate).

Oil on canvas board, 1940. 762x559 mm; 30x22 inches. Signed and dated in oil, lower left.

Provenance: acquired at Swann Galleries December 15, 2015; private collection, New York.

This unusual still life by Joseph Delaney is a beautiful study in a limited palette. Delaney moved from his native Tennessee to New York in 1930 at the age of 26, where he studied at the Art Students League with Thomas Hart Benton. In 1932, he exhibited in the first Washington Square Outdoor Art Show and continued to work as a sketch artist there. From 1934 to 1940, Delaney worked for the WPA on projects in New York City including the Index of Design for the Metropolitan Museum of Art, the Pier 72 mural, and the Story of the Recorded Word mural at the New York Public Library.

Estimate

$5,000 – $7,000

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Post-War

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22

John wilson (1912 - 2015)
Interrogation (Study for Lithograph).

Watercolor, ink and crayon on cream wove paper, 1944. 267x178 mm; 10½x7 inches. Signed and dated in pencil, lower right.

Provenance: Sragow Gallery, New York; Patricia and Donald Oresman, New York; private collection, New York.

Estimate

$3,000 – $5,000

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23

Elizabeth catlett (1915 - 2012)
Domestic Worker.

Lithograph on cream wove paper, 1946. 546x390 mm; 21½x15⅜ inches, full margins. From a presumed edition of 50. Signed in pencil, lower margin. Published by the Taller de Gráfica Popular, Mexico City.

Provenance: from the estate of Dr. Lewis W. Marshall, Sr., Washington, DC; thence by desent, private collection, Washington, DC.

This very scarce print is the first lithograph Catlett created at the Taller de Gráfica Popular upon her move to Mexico in 1946 and the first lithograph she printed in Mexico. It coincides with her I am the Negro Woman linoleum cut series, 1946 - 1947, which was the print series Catlett began when she arrived in Mexico. Another impression of Domestic Worker is in the collection of the Baltimore Museum of Art. This is only the third impression to come to auction.

Estimate

$20,000 – $30,000

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24

Elizabeth catlett (1915 - 2012)
…special houses.

Linoleum cut on cream wove paper, 1946-47. 105x152 mm; 4⅛x6 inches, full margins. A later printing, from the 1989 edition. Signed, titled, dated and numbered 18/20 in pencil, lower margin. From the I am the Black Woman series.

Estimate

$4,000 – $6,000

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25

Norman lewis (1909 - 1979)
Untitled (Two Seated Figures)

Pen and ink on cream wove paper, circa 1940s. 229x159 mm; 9x6¼ inches. Signed “Norman Lewis/OBL” in ink, lower right, posthumously by the artist’s widow Ouida Lewis.

Provenance: the estate of the artist; Bill Hodges Gallery, New York; private collection.

Illustrated: Norman W. Lewis: Works on Paper, 1935 - 1979, Bill Hodges Gallery, New York, p. 64.

Estimate

$4,000 – $6,000

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