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Auction Description for Swann: AFRICAN-AMERICAN FINE ART
Viewing Notes:
Exhibition & Sale Schedule: Sale 2353 - The Shape of Things to Come: African-American Fine Art - begins at 2:30pm in New York on Tuesday, June 10. All material in Sale 2353 on display at our premises in New York City, 104 East 25th Street, as follows: Thurs, June 5: 10am to 6pm - Fri, June 6: 10am to 6pm - Sat, June 7: Noon to 5pm - Mon, June 9: 10am to 6pm - Tues, June 10: 10am to Noon.

AFRICAN-AMERICAN FINE ART

by Swann Auction Galleries

Platinum House

157 lots with images

June 10, 2014

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

157 Lots
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THELMA JOHNSON STREAT (1911 - 1959) Confirmation.

Lot 1: THELMA JOHNSON STREAT (1911 - 1959) Confirmation.

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Description: THELMA JOHNSON STREAT (1911 - 1959) Confirmation. Gouache on illustration board, circa 1942-43. 495x394 mm; 19 1/2x15 1/2 inches Provenance: The G Place Gallery, Washington, DC; private collection; thence by descent to the current owner, private collection, CO. Exhibited: New Names in American Art, The G Place Gallery, Washington, DC, with the gallery label on the frame verso; The Renaissance Society, The University of Chicago, October 7 – October 31, 1944. The G Place Gallery at 916 G Place, NW, open from 1942 -1947, was run by Caresse Crosby who attempted to show more modern works by both European and American artists, including African-American artists like Streat, in Washington, DC. Crosby organized this traveling exhibiton of African-American art with works by over 35 artists including Romare Bearden, John Biggers, Selma Burke, Elizabeth Catlett, Eldzier Cortor, Sargent Johnson,William H. Johnson, Jacob Lawrence, Norman Lewis, Horace Pippin, Charles White and Hale Woodruff. Confirmation is an extraordinary example of a modernist painting by Thelma Johnson Streat, and a fascinating representation of African-American womanhood. Another gouache of hers, Rabbit Man, 1941, was the first painting by an African-American woman to be exhibited and purchased by the Museum of Modern Art, New York, in 1942. Confirmation conveys Streat's focus on the many abstract forms found in Native American, Asian and African art - a modernist interest she had in common with the Bay Area sculptor Sargent Johnson. Indeed, there are strong stylisitc similiarities between this figure and Johnson's sculptures Forever Free, 1933 and Negro Woman, circa 1935, both in the collection of the San Francisco Museum of Modern Art. Born on August 29, 1912, in Yakima, Washington, Streat began painting at the age of seven and received art training at the Portland Museum Art School in the mid-1930s. Streat moved to San Francisco in 1938 and began working in Works Progress Administration art programs. She participated in exhibitions at the De Young Museum, the San Francisco Museum of Art, and others. She also painted murals that attracted attention for their intense content, such as her 1943 Death of a Black Sailor, which drew threats from the Ku Klux Klan. Her work is found in the collections of the Museum of Modern Art, Mills College, Oakland, the San Francisco Museum of Art, and the Honolulu Academy of the Arts; a one-person retrospective of her work was exhibited at the Portland Art Museum in 2003.

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LÖIS MAILOU JONES (1905 - 1988) Menemsha.

Lot 2: LÖIS MAILOU JONES (1905 - 1988) Menemsha.

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Description: LÖIS MAILOU JONES (1905 - 1988) Menemsha. Drypoint on cream wove paper, circa 1940s. 178x214 mm; 7x8 3/8 inches, full margins. Signed and titled in pencil, lower margin. A very good impression of this scarce print with rich burr and inky wiping. This is only the second intaglio print by Jones to appear at auction at Swann Galleries. Intaglio printmaking (etching, drypoint and aquatint) is a medium in which she experimented briefly during her time at Howard University in the early 1940s. Two other etchings of hers, The Quarry and Les Clochards, Paris, are in the collection of the Metropolitan Museum of Art, New York.

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LÖIS MAILOU JONES (1905 - 1988) Monday at Menemsha.

Lot 3: LÖIS MAILOU JONES (1905 - 1988) Monday at Menemsha.

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Description: LÖIS MAILOU JONES (1905 - 1988) Monday at Menemsha. Oil on linen canvas, 1943. 381x457 mm; 15x18 inches. Signed in oil, and dated and inscribed "©" in ink, lower right recto. Signed, titled and dated in ink, lower stretcher bar verso. Provenance: collection of the artist; thence by descent to the current owner, private collection, New York. This charming and colorful view of Menemsha is a wonderful early example of the artist's painting on Martha's Vineyard. Menemsha's docks were an important subject to the artist and one which she revisited many times over a 60-year period. Jones knew the area well--as an artist, beginning with her first oil landscapes in the late 1930s, and from her youth through her family's ties to the area. Her grandmother worked as a housekeeper and nanny on the Vineyard, and had saved up to purchase land in Edgartown and Oak Bluffs, where Jones began spending summers in 1906. Her parents also purchased a summer home there in 1909, and Jones spent every summer on the picturesque waterfront. She maintained ties to the community while studying graphic design and art in Boston, and throughout her long and distinguished career. Her Indian Shops, Gay Head, Massachusetts, 1940, is in the collection of the Corcoran Gallery of Art, Washington, DC.

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RONALD JOSEPH (1910 - 1992) Paris Vista (#6).

Lot 4: RONALD JOSEPH (1910 - 1992) Paris Vista (#6).

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Description: RONALD JOSEPH (1910 - 1992) Paris Vista (#6). Oil on linen canvas, circa 1950-52. 991x813 mm; 39x32 inches. Signed and titled in pencil on the canvas, verso. Signed, titled and inscribed "Return to Bob Blackburn, 44 East 21 St." in graphite on the stretcher bars, verso. Provenance: private New York collection. This modernist painting is one of the largest oil canvases by Ronald Joseph that we have seen - only a handful of his Paris oil paintings from the early 1950s are known today. Joseph's early oil paintings were influenced by Picasso, Braque and other European artists while most of his contemporaries focused on social realism. A native of St. Kitts in the British West Indies, Ronald Joseph moved to New York as a child. He was quickly identified as a very talented young artist - his student works were included in an exhibition at the Metropolitan Museum of Art, and he studied at the Ethical Culture School, Fieldston School and Pratt Institute. He worked in the mural section of the Federal Art Project of the WPA, and was a representative of the Harlem Artists' Guild to the New York World's Fair (1939-1940). By 1943, Joseph had received recognition - James A. Porter described him as New York's "foremost Negro abstractionist painter." He experimented with abstraction alongside his friend Bob Blackburn through the 1950s. Joseph had met Blackburn in Reva Helfond's lithography studio at the Harlem Art Center soon after he graduated from high school. After service in the Army Air Corps, Joseph was awarded a Rosenwald Fellowship in 1948. The funds allowed him to live and work abroad--first in Peru, then Paris. His work from these travels is large undocumented; according to Rosenwald scholar, Daniel Schulman, many are undated or simply dated "1948-1952". He later settled permanently in Brussels. Porter p. 130; Schulman p. 136.

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ROY DECARAVA (1919 - 2009) Anya.

Lot 5: ROY DECARAVA (1919 - 2009) Anya.

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Description: ROY DECARAVA (1919 - 2009) Anya. Color screenprint on thin imitation Japan paper, 1949. 171x206 mm; 6 3/4x8 inches, full margins. Signed and dated in pencil, lower left. Signed, titled and numbered 28/48 in pencil, lower margin.

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ROY DECARAVA (1919 - 2009) Adolescent (Close Up) .

Lot 6: ROY DECARAVA (1919 - 2009) Adolescent (Close Up) .

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Description: ROY DECARAVA (1919 - 2009) Adolescent (Close Up) . Color screenprint on cream wove paper, 1949. 238x292 mm; 9 3/8x11 1/2 inches, full margins. Signed, numbered 19/32 and inscribed "Detail" in pencil, lower margin.

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CALVIN BURNETT (1921 - 2007) Untitled (Children Playing).

Lot 7: CALVIN BURNETT (1921 - 2007) Untitled (Children Playing).

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Description: CALVIN BURNETT (1921 - 2007) Untitled (Children Playing). Brush and ink on thick cream wove paper, 1945. 464x664 mm; 18 1/4x26 1/8inches. Signed and dated "8-14-1945" in ink, lower right. Provenance: private collection.

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MARGARET BURROUGHS (1917 - 2010) Black Venus.

Lot 8: MARGARET BURROUGHS (1917 - 2010) Black Venus.

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Description: MARGARET BURROUGHS (1917 - 2010) Black Venus. Linoleum cut on imitation Japan paper, 1957. 356x280 mm; 14x11 1/8 inches, full margins. Signed, titled and numbered 42/50 in pencil, lower margin. With the printer's blind stamp, lower left.

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CHARLES ALSTON (1907 - 1977) Untitled (Portrait of Lena Horne).

Lot 9: CHARLES ALSTON (1907 - 1977) Untitled (Portrait of Lena Horne).

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Description: CHARLES ALSTON (1907 - 1977) Untitled (Portrait of Lena Horne). Color pastel crayons and watercolor on wove paper, circa 1950. 400x305 mm; 15 3/4x12 inches. Signed in crayon, lower left. Provenance: the estate of the artist; thence by descent to the current owner. Charles Alston and Lena Horne were friends and neighbors. Both were residents in the grand pre-war Harlem apartment building, 555 Edgecombe Avenue, once known as "The Triple Nickel." Joe Louis ,Count Basie, Paul Robeson, Thurgood Marshall, Coleman Hawkins, Erskine Hawkins, Canada Lee, Teddy Wilson, Mary Lou Williams, Russell Procope, Johnny Hodges, Don Redman, Andy Kirk, Dr. Kenneth Clark, and Charles Buchanan, the owner of the Savoy, all lived there. An abstract oil on canvas by Charles Alston was in Lena Horne estate, and was sold at her estate auction at Doyle, New York, in 2011.

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CHARLES ALSTON (1907 - 1977) Untitled (Study for Lena Horne).

Lot 10: CHARLES ALSTON (1907 - 1977) Untitled (Study for Lena Horne).

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Description: CHARLES ALSTON (1907 - 1977) Untitled (Study for Lena Horne). Graphite and oil on linen canvas, circa 1955-60. 914x1016 mm; 36x40 inches.. Provenance: the estate of the artist; thence by descent to the current owner. An unfinished but striking sketch from the artist's jazz singer series.

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NORMAN LEWIS (1909 - 1979) Under Sea.

Lot 11: NORMAN LEWIS (1909 - 1979) Under Sea.

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Description: NORMAN LEWIS (1909 - 1979) Under Sea. Oil on linen canvas, 1953. 864x1473 mm; 34x58 inches. Signed and dated in oil, lower right recto. Titled in pencil, upper stretcher bar verso. Provenance: acquired directly from the artist; collection of Oral Lovell, Wellesley, MA; thence by descent to the current owner. Oral Lovell was a significant collector of Norman Lewis' works; she was his close friend from 1959 to 1965. They met through a circle of New York City artists, including Romare Bearden and Charles Alston. Exhibited: Norman Lewis, Willard Gallery, New York, NY October 5 - 30, 1954. This mid-career abstraction was one of 15 oil paintings in the artist's fifth solo gallery exhibition at the Willard Gallery. Migrating Birds, 1954, in the same exhibition, won the prestigious Carnegie Institute prize for painting that year and was acquired by the museum.

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NORMAN LEWIS (1909 - 1979) Untitled.

Lot 12: NORMAN LEWIS (1909 - 1979) Untitled.

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Description: NORMAN LEWIS (1909 - 1979) Untitled. Oil and ink on cream wove paper, 1954. 483x940 mm; 23x33 inches. Signed and dated in ink, lower left. Provenance: acquired directly from the artist; thence by descent to the current owner, private collection, New York. This dramatic and animated drawing is an excellent example of Norman Lewis' important works on paper in the early 1950s. His inventive calligraphy of small dancing figures inhabit his paintings and works on paper for the next decade. His works on paper from this seminal abstract period incorporate both these newer "ritual" figures with the dry brush atmospheric technique he favored in the early 1950s, melding them into a complex promenade composition.

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FELRATH HINES (1913 - 1993) Untitled (Abstract Composition).

Lot 13: FELRATH HINES (1913 - 1993) Untitled (Abstract Composition).

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Description: FELRATH HINES (1913 - 1993) Untitled (Abstract Composition). Watercolor on wove paper, 1954. 241x305 mm; 9 1/2x12 inches. Signed and dated in watecolor, lower right. Proveance: Harold Rubin, New York; gifted to private collection, Somerset, UK. This fine example of Hines' modernist abstraction is the first watercolor by this artist to come to auction. During the 1950s, Hines achieved critical recognition with two solo exhibitions at Parma Gallery in 1957 and 1959. Through the 1950s, he continued in this Abstract Expressionist style while working as a conservator at the Museum of Modern Art, New York.

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CHARLES ALSTON (1907 - 1977) Untitled (Abstract Composition).

Lot 14: CHARLES ALSTON (1907 - 1977) Untitled (Abstract Composition).

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Description: CHARLES ALSTON (1907 - 1977) Untitled (Abstract Composition). Charcoal, color pastels and wash on hand-made Japan paper, 1960. 305x406 mm; 12x16 inches. Signed and dated in pencil, lower right. Provenance: Bill Hodges Gallery, New York; private collection, Atlanta.

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MERTON SIMPSON (1928 - 2013 ) Night Village.

Lot 15: MERTON SIMPSON (1928 - 2013 ) Night Village.

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Description: MERTON SIMPSON (1928 - 2013 ) Night Village. Oil on linen canvas, circa 1956-1960. 610x762 mm; 24x30 inches. Signed in ink (faded), lower right recto. Titled in ink, verso. Provenance: acquired directly from the artist, New York, with the artist's gallery label on the verso; private collection, New York. Night Village is an excellent, early example of this artist's mid-century abstraction. In 1956, Merton Simpson was a young New York painter who had just completed his service in the Air Force, and whose career was on the rise. Two years earlier, Simpson had been included in a group exhibition at Bertha Schaefer Gallery, a watercolor exhibition at the Metropolitan Museum of Art, and the exhibition Younger American Painters at the Guggenheim Museum, all New York. The artist apparently painted other works in this series; another painting, oil on board, identified as Night Village was photographed by Carl Van Vechten in 1959. An image of this painting and portraits of the artist with other paintings are in Van Vechten's archives in the Beinecke Rare Book and Manuscript Library, Yale University. By 1960, the artist had his first solo exhibition at the Krasner Gallery, New York.

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BEAUFORD DELANEY (1901 - 1979) Untitled (Abstract Composition).

Lot 16: BEAUFORD DELANEY (1901 - 1979) Untitled (Abstract Composition).

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Description: BEAUFORD DELANEY (1901 - 1979) Untitled (Abstract Composition). Oil on wove paper, mounted at the sheet edges to cardstock, 1958. 750x560 mm; 29 1/2x22 inches. Signed and dated in ink on the mount, lower left. Provenance: the estate of the artist, New York; private collection, New York.

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BOB THOMPSON (1937 - 1966) Nude with Green Statue.

Lot 17: BOB THOMPSON (1937 - 1966) Nude with Green Statue.

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Description: BOB THOMPSON (1937 - 1966) Nude with Green Statue. Oil on cream wove paper, 1958. 600x457 mm; 23 1/2x18 inches. Signed, titled and dated in oil, upper right. Provenance: private collection, New York; purchased at Clarke's, Larchmont, NY (2008): private collection, New York. An extraordinary early nude by this artist and a very scarce work on paper from his breakout period in Provincetown. In the summer of 1958, Thompson began to paint figuratively and moved away from abstract painting - greatly influenced by fellow resident artists Jan Müller and Gandy Brodie. Beginning with his hommage The Funeral of Jan Müller, these early works are painted in a darker, cooler palette, and typically in oil on masonite. Unlike his mature style, these early works are also signed either "Rob Thompson" or "R. Thompson" in block letters. The Provincetown paintings were all exhibited in the 1958 Provincetown Arts Festival sponsored by the Chrysler Museum, of which Walter Chrylser purchased 13 of the works.

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ROBERT BLACKBURN (1920 - 2003) Interior.

Lot 18: ROBERT BLACKBURN (1920 - 2003) Interior.

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Description: ROBERT BLACKBURN (1920 - 2003) Interior. Color lithograph on cream wove paper, circa 1958. 301x225 mm; 11 7/8x8 7/8 inches, wide to full margins. Artist's proof, aside from the edition of 12. Signed, titled, and inscribed "A.P." in pencil, lower margin.

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ROBERT BLACKBURN (1920 - 2003) Color Symphony.

Lot 19: ROBERT BLACKBURN (1920 - 2003) Color Symphony.

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Description: ROBERT BLACKBURN (1920 - 2003) Color Symphony. Color lithograph on cream wove paper, circa 1960. 400x560 mm; 15 3/4x22 1/8 inches, full margins. Artist's proof, aside from the edition of 15. Signed, titled, and inscribed "A/P" in pencil, lower margin. From 1957 to 1963, Blackburn served as the first master printer at Universal Limited Art Editions (ULAE), West Islip, NY. In most cases, he taught the artists, including Jim Dine, Helen Frankenthaler, Jasper Johns, and Robert Rauschenberg, how to make lithographs, sharing his sensibility of the medium and his approach to the stone. Blackburn's own prints from the period show the stylistic influence of Frankenthaler, Grace Hartigan and Larry Rivers, early practitioners at ULAE, with his adoption of their more fluid and organic forms. In 1963, he began to operate his own Manhattan workshop full time, providing an open studio for artists of diverse social and economic backgrounds, ethnicities, styles, and levels of expertise. Under his direction, the Printmaking Workshop became known internationally as a vital, collaborative art studio.

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

Lot 20: NORMAN LEWIS (1909 - 1979) Untitled (Abstract Composition).

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Description: NORMAN LEWIS (1909 - 1979) Untitled (Abstract Composition). Oil on textured, cream wove paper, 1961. 508x610 mm; 20x24 inches. Signed and dated "10-22-61" in pencil, lower left. Provenance: acquired directly from the artist; private NJ collection.

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

Lot 21: NORMAN LEWIS (1909 - 1979) Untitled (Abstract Composition).

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Description: NORMAN LEWIS (1909 - 1979) Untitled (Abstract Composition). Oil on textured, cream wove paper, 1961. 502x610 mm; 19 3/4x24 inches. Signed and dated "10-24-61" in pencil, lower right. Provenance: acquired directly from the artist; private NJ collection.

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HUGHIE LEE-SMITH (1915 - 1999) Rooftops.

Lot 22: HUGHIE LEE-SMITH (1915 - 1999) Rooftops.

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Description: HUGHIE LEE-SMITH (1915 - 1999) Rooftops. Oil on linen canvas, 1961. 610x457 mm; 24x18 inches. Signed in oil, upper left. Provenance: the artist, New York; Janet Nassler Gallery, New York; private collection, New York (1962). This painting has remained in the collection of the original owner for over 50 years ago. The artist had solo exhibitons at the Janet Nassler gallery in 1960, 1962 and 1964; the gallery closed in 1965. Rooftops is a fascinating example of Hughie Lee-Smith's early 1960s work in New York where he continued painting rooftops scenes as he had in Detroit. This was a mature period in Lee-Smith's career after his many, early successes in the 1950s, including winning the Emily Lowe Award for painting in 1957. He moved to New York in 1958 where he lived in the East Village. In Rooftops, Lee-Smith shows a singular economy and clarity in his vision. With little drama, he evokes the existentialism of the Civil Rights era--the deterioration of America's urban areas during periods of great growth and prosperity. In this painting, Lee-Smith lets the window and pole serves as the central elements under a hazy sky. Like his earlier WPA period drawings and prints, this painting shows the artist's continued interest in portraying the changing urban environments. Lee-Smith continues to paint scenes that harken back not just to Detroit, but his life in Cleveland during the Depression. Lee-Smith wrote the following description on the verso of a woodcut from 1939, but it could easily describe the scene he painted here: "I had watched the Central Avenue area rapidly deteriorating, its houses falling down, and too many of its people going to pieces as well. It depressed me beyond words. I could only express my feeling about it all by drawing, not that drawing was altogether realistic. The way I felt about it got blended with the way it actually looked." Marion p. 16 and 22.

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JAMES LESESNE WELLS (1902 - 1992) Bridge at Night.

Lot 23: JAMES LESESNE WELLS (1902 - 1992) Bridge at Night.

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Description: JAMES LESESNE WELLS (1902 - 1992) Bridge at Night. Wood engraving on thin imitation Japan paper, 1960. 413x254 mm; 16 1/4x10 inches, full margins. Proof, aside from an unknown edition. Signed, titled, dated, and inscribed "8th imp" in pencil, lower margin.

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JAMES LESSESNE WELLS (1902-1993) Adam and Eve.

Lot 24: JAMES LESSESNE WELLS (1902-1993) Adam and Eve.

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Description: JAMES LESSESNE WELLS (1902-1993) Adam and Eve. Wood engraving on tissue-thin Japan paper, 1968. 279x384 mm; 11x15 1/8 inches. Artist's proof, aside from an unknown edition. Signed, titled, dated and inscribed "5th proof" in pencil, lower margin. An earlier impression of this print is in the collection of the Smithsonian Institution's National Museum of American History and was included in the exhibition James Lesesne Wells: Sixty Years in Art.

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J. EUGENE GRIGSBY, JR. (1918 - 2013) No Vacancy.

Lot 25: J. EUGENE GRIGSBY, JR. (1918 - 2013) No Vacancy.

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Description: J. EUGENE GRIGSBY, JR. (1918 - 2013) No Vacancy. Woodcut on cream wove paper, 1964. 406x292 mm; 16x11 1/2 inches, full margins. Signed, titled, numbered 15/50, and inscribed "For Bob & Jean" in pen, lower margin.

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CALVIN BURNETT (1921 - 2007) Sojourner Truth (I'll Keep You Scratchin').

Lot 26: CALVIN BURNETT (1921 - 2007) Sojourner Truth (I'll Keep You Scratchin').

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Description: CALVIN BURNETT (1921 - 2007) Sojourner Truth (I'll Keep You Scratchin'). Color lithograph on cream wove paper, circa 1964. 737x518 mm; 29x20 3/8 inches, full margins. Signed, titled, and numbered 9/15 in pencil, lower image. Printed by Impressions Workshop, Boston, MA, with the blind stamp lower left.

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WALTER WILLIAMS (1920 - 1988) Southern Landscape.

Lot 27: WALTER WILLIAMS (1920 - 1988) Southern Landscape.

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Description: WALTER WILLIAMS (1920 - 1988) Southern Landscape. Oil and collage on masonite board, 1963-64. 838x737 mm; 33x29 inches. Signed in oil, lower right. Provenance: the artist, New York; Roko Gallery, New York; Terry Dintenfass, New York, private collection, New York; thence by descent to the current owner. Exhibited: The Negro in American Art, Dickson Art Center, UCLA, Los Angeles, September 11 - October 16, 1966, (traveling exhibition to the University of California, Davis, Fine Arts Gallery of San Diego, Oakland Art Museum), with the label on the board back; Divison of Cultural Research, Art Department, Fisk University, Nashville, December 1967; Two Centuries of Black American Art, Los Angeles County Museum of Art, September 30 - November 21, 1976, (traveling exhibition to the High Museum of Art, Atlanta, the Museum of Fine Arts, Dallas, and the Brooklyn Museum) with the labels on the backing paper. Illustrated: Driskell, David C. Two Centuries of Black American Art, p. 176. Southern Landscape could be described as Walter Williams' most important painting, as it is one of his best known artworks and a seminal one in his career. This painting with collage incorporates all his signature devices of children in Southern landscapes of flowers, moths, blackbirds and butterflies with an experimental investigation of paint surface and texture. Walter Williams creates a dense surface out of an expressive, almost organic build up of brushstrokes, dots, drips and daubs of paint. Small collaged elements become leaves, wings and petals - the head of a woman appears to the left of the painting. Williams deftly contrasts the innocence of a sunny day in the life of a young boy, with the darker underside of a tree stump and its massive root structure - reflecting both the physical and emotional losses during the Civil Rights era. Born in Brooklyn, the painter, printmaker and sculptor Walter Williams studied art at the Brooklyn Museum Art School under Ben Shahn, Reuben Tam and Gregorio Prestopino from 1951-55. His social realist New York City street scenes were exhibited as early as 1952 at Roko Gallery, and included in 1953 in the Annual Exhibition of Contemporary American Painting at the Whitney Museum. But after receiving a John Hay Whitney Foundation fellowship in 1955, which he used to travel to Denmark in 1956, Williams left behind the stark subjects of the city for a warmer, poetic countryside. He found a new level of expression in a series of imaginary Southern landscapes and inspiration living abroad. It became a subject the artist would revisit again and again for the next twenty years. Southern Landscape became well known nationally from its inclusion in the important 1976 nationally touring exhibition, Two Centuries of Black American Art, organized by David C. Driskell. The catalogue notes by Leonard Simon chose to emphasize the contemporary nature of his 1960s painting, "What is impressive about Williams' paintings, however traditional his formal devices may sometimes appear, is the fact that what he produces is always completely contemporary....This is not an art straining against its own limitations, but one that is exploring newly discovered and infinitely flexible means of expression." This critically and popularly acclaimed exhibition introduced African-American art to a mainstream museum audience, and reunited the expatriate artist with his American peers. Driskell p. 192.

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BOB THOMPSON (1937 - 1966) Untitled (Reflections).

Lot 28: BOB THOMPSON (1937 - 1966) Untitled (Reflections).

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Description: BOB THOMPSON (1937 - 1966) Untitled (Reflections). Goauche on cream wove paper, 1963. 610x476 mm; 24x18 3/4 inches. Signed and dated in gouache, lower left. Provenance: private collection, New York; purchased at Clarke's, Larchmont, NY (2008): private collection, New York. This Thompson gouache is a wonderfully strange but typical example of his work on paper - inspired by the rituals and theater found in the Old Masters. Reflections, 1962, an earlier gouache painting of this subject is in the Walter O. Evans Collection of African-American Art. Thompson made many studies - even painting directly onto reproductions of the paintings of the Old Masters, like Francisco Goya, before making larger works in gouache in preparation for his oil paintings. Variations of this scene appear in several Thompson works, including his large oil painting Bird Ritual, also from 1963, with a similar composition of the arch on the left, and the pair of madonnas with mantles, or nuns, on the right. Bird Ritual was painted in Spain, or shortly after his return to New York, where was inspired by the late paintings of Goya. In 1963, he and his wife Carol were in Ibiza before returning to New York in the fall. He arrived in time to arrange his first important one-man exhibition at Martha Jackson Gallery in December. Golden figs. 86 and 88; pp. 111,112 and 179.

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BETYE SAAR (1926 -) Turtles Lament.

Lot 29: BETYE SAAR (1926 -) Turtles Lament.

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Description: BETYE SAAR (1926 -) Turtles Lament. Color etching on cream Japan paper, 1960. 267x381 mm; 15x17 1/2 inches, full margins. Artist's proof, aside from an edition of unknown size. Signed, dated, titled and inscribed "Artist's Proof" in pencil, lower margin.

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BETYE SAAR (1926 -   ) Winter Symbol.

Lot 30: BETYE SAAR (1926 - ) Winter Symbol.

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Description: BETYE SAAR (1926 - ) Winter Symbol. Etching and aquatint on 2 separate plates, printed in blue, circa 1965-70. 420x375 mm; 16 1/2x14 3/4 inches, full margins. Rives watermark. Signed, titled and numbered 5/20 in pencil, lower margin.

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RONALD ADAMS (1934 -  ) Self-Portrait.

Lot 31: RONALD ADAMS (1934 - ) Self-Portrait.

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Description: RONALD ADAMS (1934 - ) Self-Portrait. Woodcut on cream wove paper, 1965. 381x292 mm; 15x11 1/2 inches, full margins. Signed and dated in pencil, lower margin. Inscribed "1st edition" in ink, lower left.

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JOHN T. RIDDLE, JR. (1934 - 2002) Mother and Child.

Lot 32: JOHN T. RIDDLE, JR. (1934 - 2002) Mother and Child.

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Description: JOHN T. RIDDLE, JR. (1934 - 2002) Mother and Child. Glazed fired clay, mounted on a wood base, circa 1960-65. Approximately 267x140 mm; 10 1/2x5 1/2 inches, (not including the base.) Provenance: acquired directly from the artist; private collection; thence by descent to the current owner. This figurative artwork is an early sculpture by artist, educator and art administrator John T. Riddle, Jr. Born and educated in Los Angeles, Riddle's work after 1965 became increasingly invested in assemblage, especially sculpture made from the discarded and charred remains found after the Watts rebellion. Greatly inspired by Noah Purifoy, Riddle's approach was a direct way of both addressing his community and developing an abstract aesthetic. Riddle taught art at Los Angeles High School and Beverly Hills High School before moving to Atlanta in 1974, where he taught at Spelman College. Riddle returned to Los Angeles in 1999 to the position of Program Manager of Visual Arts for the California African American Museum. Several of his assemblage sculptures were featured in the traveling museum exhibition Now Dig This! Art & Black Los Angeles 1960-1980.

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RUTH WADDY (1909 - 2003) The Warriors.

Lot 33: RUTH WADDY (1909 - 2003) The Warriors.

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Description: RUTH WADDY (1909 - 2003) The Warriors. Linoleum cut on cream wove paper, 1968. 349x489 mm; 13 3/4x19 1/4 inches, full margins. Artist's proof, aside from an unknown edition. Signed, titled, dated, and inscribed "A/P II" and "Lino" in pencil, lower margin.

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SUE JANE MITCHELL SMOCK (1937 -   ) Priestess of Orosun.

Lot 34: SUE JANE MITCHELL SMOCK (1937 - ) Priestess of Orosun.

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Description: SUE JANE MITCHELL SMOCK (1937 - ) Priestess of Orosun. Woodcut printed in black and brown on cream wove paper, 1966. 591x241 mm; 23 1/4x9 1/2 inches, full margins. Artist's proof, aside from an unknown edition. Signed, titled, and inscribed "Artist's proof" in pencil, lower margin. Exhibited: Exhibition of Woodcut Prints by Sue Jane Smock, Smithsonian Institution (Museum of History and Technology), September 23 - November 7, 1966, with the label on the frame back. A New Orleans native, printmaker Sue Smock's art reflects her rich family heritage and a long interest in non-Western imagery in printmaking. Smock has had a distinguished career as a printmaker and art professor, culminating in her appointment as the chairperson of the Department of Fine Arts at Lincoln University. Her prints are in the collection of the California African-American Museum, the Amistad Research Center, the New Orleans Museum of Art and the Smithsonian American Art Museum.

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GAYLORD HASSAN (ND) Free Huey.

Lot 36: GAYLORD HASSAN (ND) Free Huey.

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Description: GAYLORD HASSAN (ND) Free Huey. Oil on cotton canvas, 1968. 457x356 mm; 18x14 inches. Signed in oil, lower left recto; signed in Arabic in oil, lower right recto. Signed, titled and dated in ink on the verso. Provenance: private Arizona collection. Gaylord Hassan was a founding member of the Weusi Artist Collective. Formed in Harlem in 1965, using the Swahili word for "blackness," it was described by fellow collective member Ademola Olugebefola as "the philosophy of black art for black people." Gaylord Hassan, born in Harlem, studied at Pratt Institute and Bob Blackburn's Printmaking Workshop. Today he is a painter, printmaker, potter and teacher. Hassan's work has been featured in exhibitions at the Brooklyn Museum of Art, the Herbert F. Johnson Museum of Art, Cornell University, the Studio Museum in Harlem, and the Schomburg Center for Research in Black Culture, all New York.

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ERNIE BARNES (1938 - 2009) Untitled (Football Game).

Lot 37: ERNIE BARNES (1938 - 2009) Untitled (Football Game).

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Description: ERNIE BARNES (1938 - 2009) Untitled (Football Game). Oil on linen canvas, circa 1966-70. 1220x1270 mm; 48x50 inches. Signed in oil, lower right. Provenance: the estate of Jack Palance, purchased at auction on October 14, 2007, with the estate sale label on the painting back. This large canvas is one of several purchased by Jack Palance early in the artist's career. Barnes played professional football in the NFL in the late 1960s before beginning a celebrated career as a figurative painter and graphic artist. The artist was able to launch his career with the patronage of Sonny Werblin, owner of the New York Jets, and an acclaimed one person exhibition at Grand Central Art Galleries in 1968.

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ERNEST CRICHLOW (1914 - 2005) Waiting.

Lot 38: ERNEST CRICHLOW (1914 - 2005) Waiting.

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Description: ERNEST CRICHLOW (1914 - 2005) Waiting. Lithograph on cream wove paper, 1968. 305x292 mm; 12x11 1/2 inches, wide margins. First edition (of 2). Signed, dated, titled and numbered 25/40 in pencil, lower margin.

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MONETA J. SLEET, JR. (1926 - 1996) Mrs. Coretta Scott king and her daughter Bernice at the funeral of Dr. Martin Luther King, Jr., Atla

Lot 39: MONETA J. SLEET, JR. (1926 - 1996) Mrs. Coretta Scott king and her daughter Bernice at the funeral of Dr. Martin Luther King, Jr., Atla

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Description: MONETA J. SLEET, JR. (1926 - 1996) Mrs. Coretta Scott king and her daughter Bernice at the funeral of Dr. Martin Luther King, Jr., Atlanta. Silver print, 1968. 356x279 mm; 14x11 inches. Signed and dated in white ink, lower right. For 13 years, Ebony magazine photographer Moneta Sleet, Jr. chronicled pivotal moments in the Reverend Dr. Martin Luther King, Jr.'s life. He was there in 1955 when King organized the Montgomery bus boycott, in 1964 when King won the Nobel Peace Prize, and he was there on April 9, 1968, when King was mourned at Atlanta's Ebenezer Baptist Church. When Coretta Scott King discovered that the press pool covering Dr. King's funeral included no black photographers, she alerted everyone, if Moneta Sleet was not allowed into the church, there would be no photographers at all. This iconic photograph Sleet took of Mrs. King woefully holding daughter Bernice won a Pulitzer Prize, making Sleet the first African-American photographer to win the highest honor for news.

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VINCENT D. SMITH (1929 - 2004) Do-Rag Brother.

Lot 40: VINCENT D. SMITH (1929 - 2004) Do-Rag Brother.

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Description: VINCENT D. SMITH (1929 - 2004) Do-Rag Brother. Oil and sand on thick linen canvas, 1968. 750x610 mm; 29 1/2x24 inches. Signed and dated in oil, upper right. Provenance: G.R. N'Namdi Gallery, Chicago; private collection, Chicago. Exhibited: Jazz &...., Kreft Center Gallery, Concordia University, Ann Arbor, MI, January 23 - March 9, 2003 ,with the label on the verso. Do-Rag Brother is a wonderfully expressive painting by Vincent Smith, and only the second significant painting by the artist to come to auction. Here with his intense, fiery colors and a gritty texture of sand, Smith depicts an almost abstract, graffiti-covered and scarred wall. Vincent Smith wanted to record an era when many took to the streets, and he painted many episodes of the Civil Rights struggle in the 1960s with fiery scenes from New York City to the Watts Riots in Los Angeles. As in his other 1968 paintings, including The Fire Next Time in the collection of the Detroit Art Institute and Waiting, Smith paints politically and socially disenfranchised figures in sihouette or flattened against the picture plane. They are powerful and unforgiving - the figures often confront the viewer, and are pressed against their urban environment, the stark store fronts and dark street corners of the Village and Brooklyn. Smith himself has stressed this relationship - "When I paint, I'm always aware of composition because I've always felt that the tighter the composition, the more interesting the work," he told American Visions magazine in 1999.

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VINCENT D. SMITH (1929 - 2003) Shadows in Harlem.

Lot 41: VINCENT D. SMITH (1929 - 2003) Shadows in Harlem.

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Description: VINCENT D. SMITH (1929 - 2003) Shadows in Harlem. Etching on cream wove paper, 1965. 203x222 mm; 8x8 3/4 inches, full margins. Artist's proof, aside from the edition of 40. Signed, titled, dated, and inscribed "Artist's Proof" in pencil, lower margin. Other impressions of this print can be found in the art collection of the New York City Health and Hospital Corporation, as well as in the collection of the Detroit Institute of Art.

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LEV MILLS (1938 -  ) Gemini II.

Lot 42: LEV MILLS (1938 - ) Gemini II.

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Description: LEV MILLS (1938 - ) Gemini II. Etching and aquatint on cream wove paper, 1969. 305x305 mm; 12x12 inches, full margins. Signed, titled, dated, and numbered 14/50 in pencil, lower margin. Lev Mills was born Tallahassee, Florida and currently resides in Atlanta, Georgia. He received his BA from Florida A&M University, his MA and MFA from the University of Wisconsin-Madison, and a postgraduate certificate from the Slade School of Fine Arts, University College- University of London. Lev Mills' career has been split between being a working visual artist, and an educator. He worked for nearly 30 years and served 14 of those years as Art Department Chair, at Spelman College, retiring in 2009. Mills classifies himself as a "constructionist," and his work has appeared in more than 100 group and solo exhibitions in the United States, Europe, and Africa. His commissions include the Atrium floor design for Atlanta's City Hall Annex, and a collaborative mixed-media construction at Hartsfield International Airport Atlanta. Additionally, Mills designed the seal for the Coretta Scott King Award. His work can also be found in major private and public collections including the Victoria and Albert Museum, London; the British Museum, London; the National Library of Scotland, Edinburgh; the Bibliothèque nationale de France, Paris; the Library of Congress, Washington, DC; the High Museum of Art, Atlanta and the Museum of Modern Art, New York. Mills has published an artistic book of etchings and poems entitled, I Do.This is the first work by Mills to come to auction.

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MARIE JOHNSON-CALLOWAY (1920 -  ) Witch Doctor I.

Lot 43: MARIE JOHNSON-CALLOWAY (1920 - ) Witch Doctor I.

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Description: MARIE JOHNSON-CALLOWAY (1920 - ) Witch Doctor I. Collage of mixed media, including oil, hair, fur, leather, shell and beads, mounted on cotton canvas, 1969. 915x610 mm; 36x24 inches. Titled in ink, upper left verso. Provenance: the artist; Lusenhop Fine Art, Chicago, with the label on the frame back. This is an exceptional, early work by Marie Johnson-Calloway, a California artist and professor known for her use of collage and mixed-media in assemblages depicting everyday African Americans. Born and raised in Balitmore, she taught in public schools and earned a degree in art eduction from Morgan State College in 1952. Two years later Calloway moved to San Jose, California and earned a Master's Degree at San Jose State University, and a doctoral's equivalency from San Fransisco University. Active in the Civil Rights movement, Calloway beacame president of the San Jose chapter of the NCAAP, and was a participant in the historic 1965 march in Selma, Alabama. At this time, her work changed from abstraction to the figurative, and she began this body of work in collage, showing at the Brockman Gallery in Los Angeles. In 1969, she became an assistant professor at the California College of Arts and Crafts in Oakland and San Jose State University. From 1973 to 1983, she was an associate professor in the art department at San Francisco State University. In 1977, she had an important exhibtion in conjunction with her friend Betye Saar at the San Francisco Museum of Art. Her work today is in the permanent collection of the California Museum of African American Art, Los Angeles, and was included in the recent 2012 traveling exhibition Now Dig This! Art & Black Los Angeles 1960 - 1980. Farrington p. 142; Jones p. 262.

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CHARLES WHITE (1918 - 1979) Wanted Poster Series #11 (positive and negative images).

Lot 44: CHARLES WHITE (1918 - 1979) Wanted Poster Series #11 (positive and negative images).

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Description: CHARLES WHITE (1918 - 1979) Wanted Poster Series #11 (positive and negative images). Pair of lithographs printed in brown on heavy cream wove paper, 1970. 572x406 mm; 22 1/2x16 inches, full margins. Both are signed, dated and numbered 19/20 in pencil, lower margin. Printed and published by the Tamarind Institute, Albuquerque, NM, with the blind stamps lower right. From the Wanted Poster Series. Other impressions of these prints can be found in the collections of the Los Angeles County Museum of Art, the Museum of Modern Art, New York, and the Norton Simon Museum. Gedeon Ea21.

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NOAH PURIFOY (1917 - 2004) Untitled (Standing Figure).

Lot 45: NOAH PURIFOY (1917 - 2004) Untitled (Standing Figure).

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Description: NOAH PURIFOY (1917 - 2004) Untitled (Standing Figure). Assemblage construction, including wood, wood veneer, and leather, circa 1968-70. Approximately 1308x381x305 mm; 51 1/2x15x12 inches. Provenance: acquired directly from the artist; Artis Lane, Los Angeles. The sculptor Artis Lane acquired this artwork from Noah Purifoy just before his move to Joshua Tree in 1989. She recalled - "I purchased the sculpture directly from the artist right before his move to Joshua Tree in 1989. Noah Purifoy was closing his L.A. studio in preparation for this move. John Outterbridge and I went to see his L.A. studio before it closed. I purchased the sculpture then and it has been in my possession since that time." Exhibited: Places of Validation, Art and Progression, California African American Museum, Los Angeles, CA, September 29, 2011 - April 1, 2012. This striking figurative sculpture is an outstanding example of Noah Purifoy's important work in assemblage, and is the first significant work of the artist to come to auction. By 1970, Purifoy had expanded his range of assemblage material to include such diverse, organic materials such as leather, feathers, brass and copper. The enigmatic female figure, with leather breasts mounted on her flanks, and a dense decorative surface, reflects both the assemblage aesthetic and early Surrealist sculpture. Noah Purifoy had grown up in Alabama - he graduated with an undergraduate degree from Alabama State Teachers College in 1943, a graduate degree from Atlanta University in 1948. Noah Purifoy moved to Los Angeles in 1953 to study at the Chouinard Art Institute. Purifoy was not only the first African-American student to be enrolled full-time, he was a mature student - receiving a BFA in 1956, just before turning forty. The Watts rebellion in 1965 changed Purifoy's life and art. At the time Noah Purifoy and fellow artist Judson Powell ran the art education program at the newly created Watts Towers Arts Center. The Watts Towers center had grown as a sculpture garden around the towers of assemblage by the eccentric Italian-American Simon Rodia whom began building them in the 1920s. Together Powell and Purifoy organized Junk Art: 66 Signs of Neon, a seminal exhibition at the University of Southern California. They exhibited 66 art works made from found debris and junk - all detritus left in the wake of the Watts riots - alongside photographic documentation. From this period, Purifoy created an important body of work, alongside with his fellow artist John Outterbridge, that is largely credited for influencing a whole generation of Californian assemblage artists from David Hammons to Senga Nengudi. Purifoy worked in public art programs of the California Arts Concil through the late 1980s - he initiated programs such as 'Artists in Social Institutions,' which brought art into the state prison system. Purifoy then moved to a large compound near Joshua Tree, California, in the Mojave desert, where over the last 15 years of his life he created a ten-acre site of large-scale assemblage sculpture. Today the entire site is preserved in a cultural center and museum, run by the artist's non-profit foundation.

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RAYMOND SAUNDERS (1934 -   ) 3 Peas in a Pod.

Lot 46: RAYMOND SAUNDERS (1934 - ) 3 Peas in a Pod.

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Description: RAYMOND SAUNDERS (1934 - ) 3 Peas in a Pod. Color pastels, pencil and collage on wove paper, circa 1970. 216x160 mm; 6 1/4x8 1/2 inches. Provenance: Terry Dintenfass Gallery, New York; Luis Ross Gallery, New York, with the labels on the frame back; private collection. Exhibited: Raymond Saunders: Recent Drawings, San Francisco Museum of Art, San Francisco, January 5 - 31, 1971; Baltimore Museum of Art Rental Gallery, Baltimore, MD, 1973; Luis Ross Gallery, New York; Arkansas Art Center, 2001 Collector's Show, November 30, 2001 - Januray 6, 2002; Diggs Gallery, Winston-Salem State University, Winston-Salem, June 11 - September 17, 2005, with the labels on the frame back.

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RAYMOND SAUNDERS (1934 -   ) Duck Out of Water.

Lot 47: RAYMOND SAUNDERS (1934 - ) Duck Out of Water.

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Description: RAYMOND SAUNDERS (1934 - ) Duck Out of Water. Color lithograph with silkscreen and collage on cream wove paper, 1975. 762x572 mm; 30x22 1/2 inches (sheet). Signed and numbered 78/200 in pencil, left sheet edge. Published by APC Editions, New York. Printed by Cirrus Editions, Ltd., Los Angeles. From America: The Third Century portfolio. Other impressions of this print are in the collections of the Museum of Modern Art, New York and the Indianapolis Museum of Art.

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WILLIAM PAJAUD (1925 -   ) Sea Bird on Nest.

Lot 48: WILLIAM PAJAUD (1925 - ) Sea Bird on Nest.

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Description: WILLIAM PAJAUD (1925 - ) Sea Bird on Nest. Oil on cotton canvas, circa 1970. 775x1181 mm; 30 1/2x46 1/2 inches. Signed in oil, center lower right. Provenance: private collection. Illustrated: Jones, Kellie. Now Dig This! Art & Black Los Angeles 1960 - 1980, p. 117. Exhibited: Now Dig This! Art & Black Los Angeles 1960 - 1980. Hammer Museum, Los Angeles, CA, October 2, 2011 - January 8, 2012; MoMA PS1, Long Island City, NY, October 21, 2012 - March 11, 2013; Williams College Museum of Art, Williamstown, MA, July 20, 2013 - December 1, 2013 . Sea Bird on Nest is a scarce example of a large, early oil painting by the artist - it is a subject of the artist's found typically in his watercolors from the late 1960s and early 1970s. Born in New Orleans, Pajaud earned a BFA at Xavier University, before moving to Los Angeles in 1948. At the time, William Pajaud exhibited at Heritage Gallery, the Santa Barbara Museum of Art and Esther Robles Gallery; he also belonged to the short-lived artist collective, Eleven Associated, which included Beulah Woodard, Alice Gafford and Tyler Wong. Pajaud was appointed the art director at the Golden State Mutual Life Insurance Company in 1957, and soon launched their active collection of African-American art, and included works by many of his contemporaries. Pajaud's artwork can be found in the collections of the National Museum of American Art, Smithsonian Institution, Washington, DC, the Amistad Research Center, New Orleans, and the collection of Camille O. and William H. Cosby, Jr. Jones pp. 150-51.

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BETYE SAAR (1926 -   ) Untitled (Clock with Charms).

Lot 49: BETYE SAAR (1926 - ) Untitled (Clock with Charms).

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Description: BETYE SAAR (1926 - ) Untitled (Clock with Charms). Mixed-media assemblage, with a Kienzle, Germany quartz (AA battery powered) clock, circa 1975. 343x178x95 mm; 13 1/2x7x3 3/4 inches (including base). Provenance: private collection, New York; thence by descent to the current owner. Covered in amulets, charms and good luck symbols, including a roller skate, a horse shoe and a heart, this mysterious and Surrealist assemblage conveys Beyte Saar's interest in both ritual and the passage of time. The door clockface and the many clock face charms all re-inforce the relative nature of time. Saar here is also directly referencing Joseph Cornell with the Surrealist symbols of the two glass balls and the blue parrot. Saar has described how she was inspired by a 1967 exhibition of Cornell at the Pasadena Art Museum - "the installation was very jewel-like and it seemed to fit the way that I made art, I had been working within a frame and then the frame became a window and the window became a box. I realized that by changing the function of an object, I could transform information and magic." Steward p. 18.

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MELVIN EDWARDS (1937 -  ) Under the Edge.

Lot 50: MELVIN EDWARDS (1937 - ) Under the Edge.

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Description: MELVIN EDWARDS (1937 - ) Under the Edge. Color lithograph on cream wove paper, circa 1970s. 502x610 mm; 19 3/4x24 inches, full margins. Signed, titled, and numbered 5/50 in pencil, lower margin. A very scarce impression--we have found no other records of this print at auction.

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MELVIN EDWARDS (1937 -  ) Coco Variation.

Lot 51: MELVIN EDWARDS (1937 - ) Coco Variation.

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Description: MELVIN EDWARDS (1937 - ) Coco Variation. Etching and aquatint on Arches paper, circa 1975. 495x603 mm; 19 1/2x23 3/4 inches, full margins. Working proof, aside from an unknown edition. Signed, titled and inscribed "Working Proof" in pencil, lower margin. Printed on the verso of text from the Impressions: Our World Vol. 1 portfolio.

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