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Auction Description for Swann: AFRICAN-AMERICAN FINE ART
Auction Description:
AFRICAN-AMERICAN FINE ART
Viewing Notes:
Exhibition & Sale Schedule: Sale 2224 - African-American Fine Art - begins at 2:30pm in New York on Thurs, Oct 7. All material in Sale 2224 on display at our premises in New York City, 104 East 25th Street, as follows - Sat, Oct 2: 10am to 4pm - Mon, Oct 4: 10am to 6pm - Tues, Oct 5: 10am to 6pm - Wed, Oct 6: 10am to 6pm - Thurs, Oct 7: 10am to Noon.

AFRICAN-AMERICAN FINE ART

by Swann Auction Galleries

Platinum House

140 lots with images

October 7, 2010

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

140 Lots
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WILLIAM A. HARPER (1873 - 1910) Untitled (French Landscape).

Lot 1: WILLIAM A. HARPER (1873 - 1910) Untitled (French Landscape).

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Description: WILLIAM A. HARPER (1873 - 1910) Untitled (French Landscape). Oil on canvas, 1905. 413x514 mm; 16 1/4x20 1/4 inches. Signed and dated in oil, lower right. Provenance: Treadway Gallery, Chicago, purchased in the 1980s; private collection. William Harper was born in Cayuga, Canada. His family moved to Illinois in 1885, and Harper attended the Art Institute of Chicago from 1895-1901, working as a nightwatch man and janitor to pay for his tuition. He studied in Paris from 1903-1905 at the Académie Julian. 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 with Henry Ossawa Tanner. 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. This is only the third landscape of his to come to auction. His paintings are found today in the collections of Tuskegee University and Dr. Walter O. Evans. Barnwell p. 157; Kenndey p. 119.

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ARTHUR P. BEDOU (1882 - 1966) The Clique, Fisk University Campus.

Lot 2: ARTHUR P. BEDOU (1882 - 1966) The Clique, Fisk University Campus.

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Description: ARTHUR P. BEDOU (1882 - 1966) The Clique, Fisk University Campus. Silver print, circa 1915. 121x171 mm; 4 3/4x6 3/4 inches, full margins. Inscribed "Bedou N.O." in black ink on the mount, lower right.

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ARTHUR P. BEDOU (1882 - 1966) Booker T. Washington on Horseback.

Lot 3: ARTHUR P. BEDOU (1882 - 1966) Booker T. Washington on Horseback.

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Description: ARTHUR P. BEDOU (1882 - 1966) Booker T. Washington on Horseback. Silver print, 1915. 197x244 mm; 7 3/4x9 5/8 inches, full margins. With the artist's stamp, "Copyright by A. P. Bedou 1915, N.O., LA" in the negative, lower right. Illustrated: Deborah Willis, Reflections in Black: A History of Black Photographers 1840 to the Present, p. 55. Arthur P. Bedou, a New Orleans photographer, documented life in the city for over 50 years. He is known for photographs of Booker T. Washington's public and private life--including this view of Washington in front of his personal residence, as well as Louisiana jazz musicians and life on the Tuskegee University campus.

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ARTHUR P. BEDOU (1882 - 1966) Booker T. Washington, Speaking in his Last Pilgrimage in Louisiana.

Lot 4: ARTHUR P. BEDOU (1882 - 1966) Booker T. Washington, Speaking in his Last Pilgrimage in Louisiana.

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Description: ARTHUR P. BEDOU (1882 - 1966) Booker T. Washington, Speaking in his Last Pilgrimage in Louisiana. Silver print, 1915. 191x241 mm; 7 1/2x9 1/2 inches, full margins. With the artist's stamp, "Copyright By A. P. Bedou, N.O., LA., 1915" in ink, upper right. Booker T. Washington, the founder of Tuskegee Institute in 1881, was a celebrated leader in the African-American education movement. His last pilgrimage to Louisiana took place in April, 1915, where he spoke at various black parishes in Louisiana about the importance of education. Despite his failing health, Washington spoke to the crowds with the same passion and spirit that made him a renowned orator. He died in November of that year.

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AUGUSTA SAVAGE (1892 - 1962) Gamin.

Lot 5: AUGUSTA SAVAGE (1892 - 1962) Gamin.

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Description: AUGUSTA SAVAGE (1892 - 1962) Gamin. Plaster painted dark brown, circa 1929. Approximately 230 mm; 9 inches high. With the artist's name inscribed, at the edge of the base verso. Provenance: private New York collection. Gamin has come to symbolize African-American sculpture in the Harlem Renaissance. This fine example is the smaller painted plaster version of the life-size bronze made by Augusta Savage, which represents a turning point in her career. Theresa Leininger-Miller describes how Gamin brought Savage success at the end of the 1920s. Out of 10 works on display at Harlem's 135th Street branch of the New York Public Library, Charles Russell Richards, the art director of the General Education Board of New York, singled out Savage, recognizing Gamin as a significant work. Two Harlem businessmen, Eugene Kinckle Jones, of the National Urban League, and John E. Nail, father-in-law of James Weldon Jones, also singled out Gamin for acclaim. The sculpture was illustrated on the cover of Opportunity in June 1929, and exhibited at the Harmon Foundation in 1930. It also earned the artist a scholarship from the Rosenwald Foundation. Other versions are found today in the collections of Camille O. and William H. Cosby, Jr., the Schomburg Center for Research in Black Culture, New York, the Indianapolis Museum of Art, the Smithsonian American Art Museum, Washington, DC, the Howard University Art Museum, Washington, DC and the University of Virgina Art Museum. Leininger-Miller pp. 178-179; Bearden/Henderson p. 172.

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DOX THRASH (1893 - 1965) Untitled (Columbia Railroad Bridge, over the Schuylkill River).

Lot 6: DOX THRASH (1893 - 1965) Untitled (Columbia Railroad Bridge, over the Schuylkill River).

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Description: DOX THRASH (1893 - 1965) Untitled (Columbia Railroad Bridge, over the Schuylkill River). Oil on canvas board, circa 1930-40. 254x356 mm; 10x14 inches. Provenance: the artist; Edna Thrash, the artist's wife; Samuel and Sally Nowak, Philadelphia; Allan H. Nowak, Sunny Isles Beach, FL. Within this atmospheric landscape, Thrash depicts the viewer as a spectator, an African-American man, watching the steaming locomotive passing over this stone Philadelphia railroad bridge. Thrash did a number of etching and carborundum studies of scenes along the Schuylkill River, including railroad bridges, through the 1930s.

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DOX THRASH (1893 - 1965) Two Men on a Raft.

Lot 7: DOX THRASH (1893 - 1965) Two Men on a Raft.

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Description: DOX THRASH (1893 - 1965) Two Men on a Raft. Watercolor, circa 1930-40. 229x425 mm; 9x16 3/4 inches. With--Untitled (Study for a Mural), gouache over pencil, verso. An intriguing study for an exotic interior mural, with dancing female figures, is found on the verso. Provenance: the artist; Edna Thrash, the artist's wife; Samuel and Sally Nowak, Philadelphia; Allan H. Nowak, Sunny Isles Beach, FL. This double-sided work on paper reveals Trash's interest in depicting rural Southern life, and his desire to paint murals. Inspired by Chicago muralist and painter William Edouard Scott, Thrash designed a hospital mural with the nursery rhyme "The Old Woman Who Lived in a Shoe" in 1939, and made several other mural studies in the 1930s. However, due to a reorganization of the Federal Art Project shortly after Thrash's hospital commission, many mural projects were cancelled. It is not known if any of the murals Thrash designed were ever executed. Ittmann p. 4 and 147.

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SARGENT CLAUDE JOHNSON (1888 - 1967) Mask.

Lot 8: SARGENT CLAUDE JOHNSON (1888 - 1967) Mask.

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Description: SARGENT CLAUDE JOHNSON (1888 - 1967) Mask. Copper repoussé with gilding, 1933. Approximately 318x165x51 mm; 12 1/2x6 1/2x2 inches. Incised signature and date, verso. Provenance: private collection, Pennsylvania. Mask is an excellent example of Sargent Johnson's work in repoussé from the 1930s, and the first of its kind to come to auction. It is among the earliest examples his sculpture incorporating African forms with a modernist design. We have been able to locate only a handful of his copper masks--all are in museum collections, including another Mask from 1933, in the collection of the San Francisco Museum of Modern Art; Head of Girl, 1926, in the collection of the Newark Museum of Art, and Mask, circa 1930-35, with wood, in the collection of the National Museum of American Art, Smithsonian Institution. Two other copper works, entitled Negro Mother and Mask, both 1935, from the Albert M. Bender Collection, were included in the Sargent Johnson: Retrospective curated by Evangeline Montgomery at the Oakland Museum in 1971.

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HALE WOODRUFF (1900 - 1980) Returning Home.

Lot 9: HALE WOODRUFF (1900 - 1980) Returning Home.

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Description: HALE WOODRUFF (1900 - 1980) Returning Home. Linoleum cut on imitation Japan paper, 1935. 254x203 mm; 10x8 inches, full margins. Artist's proof. Signed, titled, dated and inscribed "Artist's Proof" in pencil, lower margin. A very good, dark impression.

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ALLAN ROHAN CRITE (1910 - 2007) Drunk.

Lot 10: ALLAN ROHAN CRITE (1910 - 2007) Drunk.

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Description: ALLAN ROHAN CRITE (1910 - 2007) Drunk. Pencil drawing on cream paper, 1934. 311x222 mm; 12 1/4x8 3/4 inches, full margins. Signed and inscribed "Aug 1934" in pencil, lower right. Titled in pencil, lower margin. Provenance: collection of George and Joyce Wein, New York.

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ALLAN FREELON (1895 - 1960) Market Wagon.

Lot 11: ALLAN FREELON (1895 - 1960) Market Wagon.

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Description: ALLAN FREELON (1895 - 1960) Market Wagon. Etching and aquatint, 1933. 229x302 mm; 9x11 7/8 inches, full margins. Signed, titled, dated "6/30/33," inscribed "To Mary Carpenter" and numbered 50 in pencil, lower margin. A very good, dark impression.

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HUGHIE LEE-SMITH (1915 - 1999) Untitled (Young Woman with Hands Clasped).

Lot 12: HUGHIE LEE-SMITH (1915 - 1999) Untitled (Young Woman with Hands Clasped).

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Description: HUGHIE LEE-SMITH (1915 - 1999) Untitled (Young Woman with Hands Clasped). Pencil drawing on heavy cream wove paper, 1939. 216x292mm; 8 1/2x11 1/2 inches, full margins. Signed and dated in pencil, lower right. Provenance: the estate of the artist; thence by descent to the current owner.

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CHARLES ALSTON (1907 - 1977) Untitled (Head of a Man).

Lot 13: CHARLES ALSTON (1907 - 1977) Untitled (Head of a Man).

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Description: CHARLES ALSTON (1907 - 1977) Untitled (Head of a Man). Cast bronze, 1937. Approximately 280 mm; 11 inches high. Incised with the artist's signature and date and numbered 3/6, upper base edge verso. Provenance: estate of the artist; Bill Hodges Gallery, New York; private collection. This impressive bust is one of a series of contemplative portraits Alston made in the late 1930s. Many, including this one, closely resemble the artist, and show a sensitive realism in their portrayal of young African-American males. Through his involvment in the WPA, the Harlem Artist's Guild and the "306" collective, Alston came into contact with such figurative pioneers as Augusta Savage, Richmond Barthé and Lionel Reiss, whose influences he synthesized in these late 1930s portraits. A painted plaster model from which this bronze is based was in the artist's estate. Wardlaw pp. 19-20.

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CARL G. HILL (CIRCA 1920 - 1943) Untitled (Farm Scene with Buildings and Cows).

Lot 14: CARL G. HILL (CIRCA 1920 - 1943) Untitled (Farm Scene with Buildings and Cows).

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Description: CARL G. HILL (CIRCA 1920 - 1943) Untitled (Farm Scene with Buildings and Cows). Lithograph, 1938. 241x305 mm; 9 1/2x12 inches, full margins. Signed, dated and inscribed "Litho" in pencil, lower margin. A very good impression.

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CARL G. HILL (CIRCA 1920 - 1943) Newsboy.

Lot 15: CARL G. HILL (CIRCA 1920 - 1943) Newsboy.

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Description: CARL G. HILL (CIRCA 1920 - 1943) Newsboy. Brush, pen and ink on buff laid paper, 1937. 406x305 mm; 16x12 inches. Signed and dated in ink, lower right. Provenance: private New York collection. This striking drawing is a study for the artist's best known work, his same-titled 1938 lithograph, which is in the collection of the Metropolitan Museum of Art, gift of Reba and Dave Williams. According to Lisa Collins's entry, Hill was a student of the lithographer Reva Helfond at the Harlem Community Art Centerin 1938. Hill tragically died at sea shortly after joining the U. S. Merchant Marines in 1942. Messinger p. 63.

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ALLAN ROHAN CRITE (1910 - 2007) The Childhood and Passion of our Blessed Lord and Savior Jesus Christ.

Lot 16: ALLAN ROHAN CRITE (1910 - 2007) The Childhood and Passion of our Blessed Lord and Savior Jesus Christ.

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Description: ALLAN ROHAN CRITE (1910 - 2007) The Childhood and Passion of our Blessed Lord and Savior Jesus Christ. Volume of 73 linoleum cuts, printed on Japan paper, mounted on wove paper, with inscribed title pages, and hand bound in antique board covers, 1937-39. Each 292x191 mm; 11 1/2x7 1/2 inches, full margins. Each signed, titled and dated in ink, lower margin. Signed and inscribed with the artist's Boston address in ink, inside flap of the front cover. Each superb, rich impressions of these scarce prints. With--John the Baptist, woodcut, 1937, clipped and unsigned. Provenance: the artist, Boston; private collection. This extraordinary volume includes two major and early series of Allan Rohan Crite's linoleum cuts. It was his personal copy. It represents a great achievement in printmaking by an African-American artist in the first half of the 20th century. In 1936, Allan Rohan Crite graduated from the School of the Museum of Fine Arts, Boston. These series were completed over the course of three years while the artist and his family struggled during the Depression. He worked for a year in the Works Projects Administration, and was briefly a member of the Society of Independent Artists, a Boston collective. By 1940, he was hired as a draftsman for the Boston Ship Yard, a job he kept for the next 30 years.

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CLAUDE CLARK (1915 - 2001) Soup!

Lot 17: CLAUDE CLARK (1915 - 2001) Soup!

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Description: CLAUDE CLARK (1915 - 2001) Soup! Color carborundum etching, circa 1940. 121x76 mm; 4 3/4x3 inches, full margins. Signed and titled in pencil, lower margin. A very good, rich impression.

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DOX THRASH (1893 - 1965) Portrait of a Young Man.

Lot 18: DOX THRASH (1893 - 1965) Portrait of a Young Man.

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Description: DOX THRASH (1893 - 1965) Portrait of a Young Man. Watercolor on thick wove paper, circa 1940. 267x165 mm; 10 1/2x6 1/2 inches. Provenance: the artist; Edna Thrash, the artist's wife; Samuel and Sally Nowak, Philadelphia; Allan H. Nowak, Sunny Isles Beach, FL.

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WILLIAM EDMONDSON (1874 - 1951) Squirrel.

Lot 19: WILLIAM EDMONDSON (1874 - 1951) Squirrel.

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Description: WILLIAM EDMONDSON (1874 - 1951) Squirrel. Stone, circa 1940. Approximately 476x330x127 mm; 18 3/4x13x5 inches. Provenance: purchased directly from the artist by the owner's late grandmother, Nashville, circa 1940-45; thence by descent to the current owner. The original owners of this squirrel had a pair that guarded the front entrance of their Nashville home in the late 1940s. This squirrel is a striking work by this important self-taught sculptor, and an excellent example of the remarkable animals and figures he carved out of stone. A native of Nashville and the son of former slaves, William Edmondson opened a yard to carve tombstones from mostly reclaimed limestone curbstones in the early 1930s. He first carved memorial figures of lambs and doves and then more expressive preachers, angels, rams, horses, lions, and other animals. Within the dimensions of the curbstone, Edmondson was able to simplify the forms of animals and figures to convey great power and character. He was "discovered" in 1934-35 by Sidney Hirsch of Vanderbilt University, and in 1936, his friends brought the photographer Louise Dahl-Wolfe to visit and shoot Edmondson at work. He was then brought to the attention of Alfred H. Barr, Jr., and Edmondson became the first African-American artist to be given a solo exhibition at the Museum of Modern Art, New York in 1937. The Cheekwood Museum of Art in Nashville, with the largest collection of Edmondson sculpture, organized a retrospective exhibition, which traveled nationally in 2000-2001. Bearden/Henderson pp. 349-352.

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NAT CHOATE (1899 - 1965) Untitled (Mother and Child with Dove).

Lot 20: NAT CHOATE (1899 - 1965) Untitled (Mother and Child with Dove).

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Description: NAT CHOATE (1899 - 1965) Untitled (Mother and Child with Dove). Painted plaster, circa 1940-50. Approximately 514 mm; 20 1/4 inches high. Inscribed signature, lower right. Provenance: D. Wigmore Fine Art, Inc., New York; private collection, New Hampshire; private collection, Pennyslvania. Nathaniel Choate was a distinguished and successful sculptor. He received popular and critical acclaim for exhibitions at the Durand-Ruel Galleries in New York in 1934, and the Arden Gallery in New York in 1938. Born in Southboro, MA, Choate received a bachelor's degree from Harvard University in 1922. He studied in Paris at the Académie Julian, the Académie Delécluse and the Académie de la Grande Chaumière, and visited and lived throughout Europe in the early 1930s. He had public commissions during the WPA era, and was later elected to the National Academy of Design. His work is in the collections of Indiana University, Bloomington, IN, the Fogg Art Museum, Harvard University, Cambridge, MA, the Muskegon Museum of Art, Muskegon, MI, the National Academy of Design, New York and the Pennsylvania Academy of the Fine Arts, Philadelphia.

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SARGENT CLAUDE JOHNSON (1888 - 1967) Bust of Margery Livingston.

Lot 21: SARGENT CLAUDE JOHNSON (1888 - 1967) Bust of Margery Livingston.

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Description: SARGENT CLAUDE JOHNSON (1888 - 1967) Bust of Margery Livingston. Terra cotta, partially glazed, circa 1940. Approximately 140 mm; 5 1/2 inches high. Provenance: the artist, San Francisco; Arthur W. Hanna, San Francisco; private collection, San Francisco. San Franciscan carpenter and cabinet-maker Arthur W. Hanna met Sargent Johnson shortly after Hanna's military service in 1945 when both men were residents of the soon-to-be bohemian North Beach neighborhood. Sargent Johnson had set up his studio a few blocks down Grant Avenue from Hanna's workshop on Telegraph Hill; they met at the local hardware store and became friends. Hanna built bases and pedestals for Johnson's work. Johnson gave him this sculpture from his studio in the early 1960s. This bust is an expressive portrait of Margery Livingston (1920 - 1997), who was a noted weaver and textile designer, as well as a supervisor of the WPA Weaving Project in San Francisco. She was also the wife of the artist John Magnani, the potter in whose kiln Johnson fired. Livingston became the head of the art department at San Francisco State University, where she taught from 1949, and was a leading figure in the Bay Area arts and crafts community.

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ROBERT SAVON PIOUS (1908 - 1983) Joe Louis vs. Clarence

Lot 22: ROBERT SAVON PIOUS (1908 - 1983) Joe Louis vs. Clarence "Red" Burman

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Description: ROBERT SAVON PIOUS (1908 - 1983) Joe Louis vs. Clarence "Red" Burman Oil on illustration board, circa 1941. 425x508 mm; 16 3/4x20 inches. Signed in oil, lower right. Provenance: from the artist to his brother, New Orleans; thence by descent to the current owner. This impressive work is the first known painting by Robert Savon Pious to come to auction. Pious shows the dramatic finish of this storied boxing match--Joe Louis putting Clarence "Red" Burman on the ropes just before the referee stops the fight. Moments later, Burman was draped over the lowest rope after Louis battered him with a barrage of punches in this fifth and final round of their January 31, 1941 match at Madison Square Garden. Louis defended his heavyweight title an unprecedented 13 times in the 29 months from January 1939 through May 1941. Robert Savon Pious, whose portraiture and sporting scenes were well known in the 1930s and '40s, is underappreciated today as a figurative artist. Born in Meridian, MS, Pious studied at the Art Insitute of Chicago in 1921. He moved to New York in the late 1920s. When he was not working as a commerical artist, he specialized in portrait painting, winning the Harmon Foundation's 1929 Springarn prize for a portrait of the concert singer Roland Hayes. The prize led to a four-year scholarship at the National Academy of Design in New York from 1931 to 1935. He exhibited in Harmon Foundation exhibitions throughout the early 1930s, and worked with Earl Sweeting to create works depicting African history for the Charles C. Seifert Library in Harlem. His work was included in the important Exhibition of Fine Art Productions by American Negroes at the 1936 Texas Centennial Exposition. He is also well known for his award-winning poster design for the 1940 American Negro Exposition, where he also exhibited. During WWII, like Charles Alston, Pious worked as an illustrator for the U.S. Office of War Information, as well as a cartoonist and book illustrator. He became a "leading illustrator, especially of African-American athletes." Bearden/Henderson pp. 234-35; 249-50.

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JACOB LAWRENCE (1917 - 2000) Two Card Players.

Lot 23: JACOB LAWRENCE (1917 - 2000) Two Card Players.

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Description: JACOB LAWRENCE (1917 - 2000) Two Card Players. Gouache on brown composition board, circa 1941-42. 480x420 mm; 19x16 1/2 inches. Provenance: private New York collection. This recently discovered work dates from the time Jacob Lawrence spent in New Orleans--from the fall of 1941 through the spring of 1942. This gouache is the apparent companion work to the same-sized painting sold at Swann Galleries on February 23, 2010. After finishing his 60-panel series, The Migration of the Negro in 1941, the artist was awarded a $1,200 renewal of his 1940 Rosenwald scholarship to paint The Life of John Brown. Lawrence married Gwendolyn Knight on July 24, and they left New York for New Orleans that fall. While working on the John Brown series, Lawrence painted individual scenes of his new Southern environs. By 1941, the young artist had added brighter colors and a more angular modernity to his flattened and simplified compositions from the late 1930s. This card-playing couple is closely related to the craps players of his The Green Table, also gouache on composition board, 1941. It also has similarities with Untitled (Two People in a Bar), 1941, another couple with angular faces smoking cigarettes. We would like to thank Peter T. Nesbett, former director of the Jacob Lawrence Catalogue Raisonné Project, and co-author of Jacob Lawrence: Paintings, Drawings and Murals (1835-1999), a Catalogue Raisonné, for examining this painting. It will be sold accompanied by his signed letter of opinion, dated June 4, 2010, confirming the attribution.

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FREDERICK D. JONES, JR. (1914 - 2004) The Strikers.

Lot 24: FREDERICK D. JONES, JR. (1914 - 2004) The Strikers.

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Description: FREDERICK D. JONES, JR. (1914 - 2004) The Strikers. Wood engraving, circa 1937-40. 124x102mm; 4 7/8x4 inches, full margins. Signed, titled and numbered 4/10 in pencil, lower margin. A very good, dark impression of this scarce print.

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FREDERICK D. JONES, JR. (1914 - 2004) Georgetown Wharf.

Lot 25: FREDERICK D. JONES, JR. (1914 - 2004) Georgetown Wharf.

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Description: FREDERICK D. JONES, JR. (1914 - 2004) Georgetown Wharf. Wood engraving, circa 1940-45. 251x197 mm; 9 7/8x7 3/4 inches, full margins. Signed and titled in pencil, lower margin. A very good impression of this scarce print.

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WILLIAM H. JOHNSON (1901 - 1970) Training for War.

Lot 26: WILLIAM H. JOHNSON (1901 - 1970) Training for War.

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Description: WILLIAM H. JOHNSON (1901 - 1970) Training for War. Color pochoir and screenprint, circa 1942. 292x445 mm; 11 1/2x17 1/2 inches. One of only several proofs. Signed in ink, lower right. A very good impression with vibrant colors. Provenance: Mary Beattie Brady, director of the Harmon Foundation, New York; thence by descent to Sheldon Roesch, New York; Michael Rosenfeld Gallery, New York, with the label on the frame back; private collection, 2000. Exhibited: The Challenge of the Modern: African American Artists 1925 - 1945, the Studio Museum in Harlem, New York, January 23 - April 6, 2003, with the label on the frame back. Training for War is an iconic image of both African-American and American art, and a very scarce example of an important modern color screenprint. While living in New York in the early 1940s, William H. Johnson only printed a handful of impressions from his screenprints depicting colorful images of both the rural South and of Harlem. These were experimental, painterly prints, using both screens and pochoir (hand-colored stencils), with changes made from impression to impression. Out of the 17 known screenprint images Johnson made, Training for War and another screenprint, Off to War, reflect the contributions of African-American soldiers and Red Cross workers to the war effort. Johnson worked with screenprinting for only three years until tragedy struck in 1943--his Danish wife, Holcha, was diagnosed with breast cancer and died months later. We have found only three other impressions of Training for War in public collections--one at the Indianapolis Museum of Art and two at the Smithsonian Institution, Washington, DC (both unsigned). This image was also reproduced on a United States 37 cent postage stamp in 2005 as part of the To Form a More Perfect Union series, which commemorated the Civil Rights movement with images of African-American visual art.

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ELIZABETH CATLETT (1915 -   ) In Harriet Tubman I Helped Hundreds to Freedom.

Lot 27: ELIZABETH CATLETT (1915 - ) In Harriet Tubman I Helped Hundreds to Freedom.

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Description: ELIZABETH CATLETT (1915 - ) In Harriet Tubman I Helped Hundreds to Freedom. Linoleum cut on cream wove paper, 1946-47. 186x140 mm; 7 3/8x5 1/2 inches, full margins. Proof, from a later printing of The Negro Woman print series. Signed, titled "Harriet" and dated "'57" in pencil, lower margin, with the Taller de Gráfica Popular ink stamp, lower left. A very good, dark impression of this scarce print.

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CHARLES WHITE (1918 - 1979) El Pensador (The Thinker).

Lot 28: CHARLES WHITE (1918 - 1979) El Pensador (The Thinker).

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Description: CHARLES WHITE (1918 - 1979) El Pensador (The Thinker). Lithograph, 1946. 514x406mm; 20 1/4x16 inches, full margins. Proof, from an edition of an unknown size. Printed by the artist at Taller de Gráfica Popular, Mexico City. A very good impression of this extremely scarce print. We have not found another impression at auction in 20 years. Gedeon Ea5.

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RONALD JOSEPH (1910 - 1992) Cart Series.

Lot 29: RONALD JOSEPH (1910 - 1992) Cart Series.

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Description: RONALD JOSEPH (1910 - 1992) Cart Series. Watercolor and pencil on cream laid paper, circa 1945. 254x406 mm; 10x16 inches. Signed and titled in pencil, lower margin. Provenance: private Chicago collection.

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JOHN WILSON (1922 -   ) Street Scene.

Lot 30: JOHN WILSON (1922 - ) Street Scene.

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Description: JOHN WILSON (1922 - ) Street Scene. Lithograph on cream wove paper, 1947. 152x360 mm; 10x14 1/4 inches, wide margins. Signed, titled, dated and numbered 3/20 in pencil, lower margin. A good, dark impression of this scarce print.

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ALLAN ROHAN CRITE (1910 - 2007) Surely He Hath Borne Our Griefs.

Lot 31: ALLAN ROHAN CRITE (1910 - 2007) Surely He Hath Borne Our Griefs.

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Description: ALLAN ROHAN CRITE (1910 - 2007) Surely He Hath Borne Our Griefs. Lithograph, 1948. 298x248 mm; 11 3/4x9 3/4 inches, full margins. Signed, titled, dated and numbered 2/8 in pencil, lower margin. A very good impression of this scarce print. Provenance: collection of George and Joyce Wein, New York. Illustrated: Syncopated Rhythms: 20th Century African-American Art from the George and Joyce Wein Collection, p. 41; Alone in a Crowd: Prints of the 1930s-40s by African-American Artists, the collection of Reba and Dave Williams, p. 47, where it is alternately titled Via Dolorosa. Exhibited: Syncopated Rhythms: 20th Century African-American Art from the George and Joyce Wein Collection, Boston University Art Gallery, November 18, 2005 - January 22, 2006.

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ALLAN ROHAN CRITE (1910 - 2007) The Annunciation.

Lot 32: ALLAN ROHAN CRITE (1910 - 2007) The Annunciation.

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Description: ALLAN ROHAN CRITE (1910 - 2007) The Annunciation. Diptych linoleum cut, hand colored with watercolor and gold leaf, circa 1947. 228x159 mm; 9x6 1/4 inches, 1/2- to 1 inch margins. Signed in ink, lower left. A very good impression.

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FREDERICK D. JONES, JR. (1914 - 2004) Mother and Child.

Lot 33: FREDERICK D. JONES, JR. (1914 - 2004) Mother and Child.

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Description: FREDERICK D. JONES, JR. (1914 - 2004) Mother and Child. Watercolor, with pen and ink, 1940-45. 700x584 mm; 27 1/2x23 inches. Signed in ink, lower right. Provenance: G. R. N'Namdi Gallery, Chicago, with the label on the frame back; private Chicago collection.

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HAYWOOD

Lot 34: HAYWOOD "BILL" RIVERS (1922 - 2002) Untitled (Woman in Armchair, Smoking Pipe).

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Description: HAYWOOD "BILL" RIVERS (1922 - 2002) Untitled (Woman in Armchair, Smoking Pipe). Oil on canvas, circa 1948-50. 457x406 mm; 18x16 inches. Signed in ink on the verso, upper edge. Provenance: acquired directly from the artist; private collection. This charming painting is a scarce example of Haywood "Bill" Rivers's brief but celebrated late 1940s figurative period. Influenced by Horace Pippen, Rivers recalls a strong female figure from his quilt-making family in Morven, NC. He left his family as a young teen and moved to Baltimore; he later moved to New York and studied at the Art Students League from 1946-48. In 1949, Rivers left for Paris and joined the cooperative Galerie Huit. He then studied at the École du Louvre in Paris from 1950-52. Rivers went on to receive many awards for his work, including the Julius Rosenwald Fellowship in 1948 and the John Hay Whitney Fellowship in 1952. His two solo exhibitions--in 1948, at the Baltimore Museum of Fine Art, and in 1983 at the Ann Weber Gallery in Georgetown, ME--bookend a long, distinguished career. Today, his works are in the collections of the Baltimore Museum of Art and La Musée d'Art Moderne, Paris. The Baltimore Museum's The Drape Maker and Tailor Shop, both acquired from his 1948 exhibition, were included in the 2009-10 traveling museum exhibition, A Force for Change: African American Art and the Rosenwald Fund.

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

Lot 35: ROY DECARAVA (1919 - 2009) Adolescent (Close Up).

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Description: ROY DECARAVA (1919 - 2009) Adolescent (Close Up). Color screenprint, 1949. 238x292 mm; 9 3/8x11 1/2 inches, full margins. Signed and dated in black ink, lower left. A very good, richly inked impression of this very scarce print. Provenance: acquired directly from the artist by Anne Kurakin, his second wife. Illustrated: Peter Galassi, Roy DeCarava: A Retrospective, p. 15.

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ROY DECARAVA (1919 - 2009) Tenement Clotheslines.

Lot 36: ROY DECARAVA (1919 - 2009) Tenement Clotheslines.

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Description: ROY DECARAVA (1919 - 2009) Tenement Clotheslines. Color screenprint, circa 1949. 286x237 mm; 11 1/4x9 3/8 inches, full margins. A very good, dark impression. Provenance: acquired directly from the artist by Anne Kurakin, his second wife.

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ROBERT BLACKBURN (1920 - 2003) Untitled (Abstract Composition).

Lot 37: ROBERT BLACKBURN (1920 - 2003) Untitled (Abstract Composition).

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Description: ROBERT BLACKBURN (1920 - 2003) Untitled (Abstract Composition). Color pastel crayons on textured cream wove paper, circa 1950. 406x546 mm; 16x21 1/2 inches. Provenance: private New Jersey collection.

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ROMARE BEARDEN (1911 - 1988) Untitled (Two Figures).

Lot 38: ROMARE BEARDEN (1911 - 1988) Untitled (Two Figures).

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Description: ROMARE BEARDEN (1911 - 1988) Untitled (Two Figures). Watercolor, brush and ink on wove paper, circa 1947-48. 451x584 mm; 17 3/4x23 inches. Signed in ink, upper right. Provenance: private collection, New York; thence by descent to the current owner.

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JOHN BIGGERS (1924 - 2001) Frustration (Seeking).

Lot 39: JOHN BIGGERS (1924 - 2001) Frustration (Seeking).

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Description: JOHN BIGGERS (1924 - 2001) Frustration (Seeking). Lithograph, 1952. 305x230 mm; 12x9 inches, wide (full?) margins. Signed, titled, dated and numbered 1/3 in pencil, lower margin. A very good, dark impression of this scarce print.

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CHARLES WHITE (1918 - 1979) Young Worker.

Lot 40: CHARLES WHITE (1918 - 1979) Young Worker.

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Description: CHARLES WHITE (1918 - 1979) Young Worker. Linoleum cut in brown and black on thin cream Japan paper, laid down to board, 1954. 768x572 mm; 30 1/4x22 1/2 inches, wide (full?) margins. Signed, titled, dated and inscribed "To Walter With My Warmest Regards" in pencil, lower margin. A very good, richly inked impression of this extremely scarce print. We have not found another impression of this print at auction in 20 years. Charles White made two versions of this print; this is the second, with an added landscape as the background. Gedeon illustrates the other version. There is also a 1953 crayon drawing, Young Farmer, of the same subject. According to Gedeon, the print was also titled Young Farmer, and was reproduced in Tribune Magazine, February 17, 1954. Gedeon Eb9.

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CLOYD LEE BOYKIN (1877 - ND ) Still Life with Flowers.

Lot 41: CLOYD LEE BOYKIN (1877 - ND ) Still Life with Flowers.

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Description: N (1877 - ND ) Still Life with Flowers. Oil on board, circa 1940-50. 343x419 mm; 13 1/2x16 1/2 inches. Signed in oil, lower right. This still life is the first known painting by Cloyd Lee Boykin to come to auction. The artist, famously depicted in Palmer Hayden's painting The Janitor Paints a Picture, was indeed a janitor late in his life. Boykin had, however, achieved considerable success as an artist in the 1910s and the 1920s. Born in Virginia in 1877, Boykin moved to Boston in the early 1900s, where he studied at the School of the Museum of Fine Arts, Boston from 1912 to 1913. He became known in Boston's art circles for his portraits of prominent African Americans and abolitionists. In the late 1920s, Boykin also opened the first art school for African Americans in New York City, and went on to exhibit at the Harmon Foundation in New York in 1931, 1933 and 1935.

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LOÏS MAILOU JONES (1905 - 1998) Le Sacré-Cœur, Montmartre, Paris.

Lot 42: LOÏS MAILOU JONES (1905 - 1998) Le Sacré-Cœur, Montmartre, Paris.

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Description: LOÏS MAILOU JONES (1905 - 1998) Le Sacré-Cœur, Montmartre, Paris. Oil on canvas, circa 1947-49. 470x550 mm; 18x21 1/2 inches. Signed and inscribed "Paris" in oil, lower right. Provenance: private collection, France. Jones, who first lived in Paris from 1937-38, returned there after World War II in the summer of 1945. She painted many street scenes of Montmartre en plein aire; several other similar views are in the collection of the Loïs Mailou Jones Pierre-Nöel Trust. Paris street scenes were important subjects for her, which she continued to produce through the mid-1960s, generally with thinner applications of paint. Conwill pp. 46-47.

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CHARLES ALSTON (1907 - 1977) Head of a Young Girl.

Lot 43: CHARLES ALSTON (1907 - 1977) Head of a Young Girl.

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Description: CHARLES ALSTON (1907 - 1977) Head of a Young Girl. Oil on canvas, circa 1955. 305x229 mm; 12x9 inches. Signed in oil, lower left. Provenance: estate of the artist; Bill Hodges Gallery, New York, with the label on the frame back; private collection.

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CLAUDE CLARK (1915 - 2001) Proud Young Farmer.

Lot 44: CLAUDE CLARK (1915 - 2001) Proud Young Farmer.

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Description: CLAUDE CLARK (1915 - 2001) Proud Young Farmer. Oil on thick cardstock, 1954. 405x305 mm; 16x12 inches. Signed in oil, lower center. Provenance: the artist, with his Talladega College typed label on the verso, indicating the title and "painted summer '54;" private New York collection. Claude Clark was an innovative painter and printmaker who returned to his native Alabama to give an art workshop at Talladega College in 1949. He stayed and eventually created the art department at the school, where he taught until 1955. Messinger p. 48.

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MARGARET BURROUGHS (1917 -   ) On the Beach.

Lot 45: MARGARET BURROUGHS (1917 - ) On the Beach.

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Description: MARGARET BURROUGHS (1917 - ) On the Beach. Linoleum cut on imitation Japan paper, circa 1957. 279x362 mm; 11x14 1/4 inches, full margins. Signed, titled and numbered 41/50 in pencil, lower margin. With the printer's blind stamp, lower left. A very good, dark impression.

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MARGARET BURROUGHS (1917 -   ) Black Venus.

Lot 46: MARGARET BURROUGHS (1917 - ) Black Venus.

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Description: MARGARET BURROUGHS (1917 - ) Black Venus. Linoleum cut on imitation Japan paper, 1957. 356x280 mm; 14x11 inches, full margins. Signed, titled and numbered 41/50 in pencil, lower margin. With the printer's blind stamp, lower left. A very good, dark impression.

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ELIZABETH CATLETT (1915 -   ) Girl Jumping Rope.

Lot 47: ELIZABETH CATLETT (1915 - ) Girl Jumping Rope.

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Description: ELIZABETH CATLETT (1915 - ) Girl Jumping Rope. Lithograph, 1958. 248x343 mm; 9 3/4x13 1/2 inches, full margins. Signed, inscribed "E/E" and numbered 54/100 in pencil, lower margin. A good, dark impression of this scarce print. We have not found another impression at auction in the past 20 years.

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MINNIE EVANS (1892 - 1987) Greenfield Lake.

Lot 48: MINNIE EVANS (1892 - 1987) Greenfield Lake.

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Description: MINNIE EVANS (1892 - 1987) Greenfield Lake. Oil on canvas board, 1957. 305x406 mm; 12x16 inches. Signed and dated in ink, lower right. Provenance: the collection of the artist; private collection, New York. Greenfield Lake is an unusual painting that shows a seldom-seen side of Minnie Evans's work. Known for her surreal, visionary images in crayon and watercolor on paper, Evans painted this lush Henri Rousseau-like park scene in Wilmington, NC, where she had worked as a gatekeeper in Airlie Gardens since 1948. We believe this is the first oil landscape by this important folk artist to come to auction. Jean Dubuffet collected Evans's work in the 1960s, which has been exhibited widely, including a solo exhibition at the Whitney Museum of American Art, New York, in 1975.

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BEAUFORD DELANEY (1901 - 1979) Untitled (Yellow, Green and White Abstraction).

Lot 49: BEAUFORD DELANEY (1901 - 1979) Untitled (Yellow, Green and White Abstraction).

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Description: BEAUFORD DELANEY (1901 - 1979) Untitled (Yellow, Green and White Abstraction). Oil on canvas, circa 1959. 1073x953 mm; 42 1/4x37 1/2 inches. Signed and inscribed with the artist's address "R. P. Valliant Couturier, Clamart, Seine" in oil, verso. Provenance: Galerie Paul Facchetti, Paris; private collection, Paris; Galerie Binoche, Paris; Michael Rosenfeld Gallery, New York; private collection, 2001, with the Facchetti and Rosenfeld labels on the frame back. Exhibited: Beauford Delaney, Galerie Facchetti, Paris, June 21, 1960. Beauford Delaney made this superb abstraction during the height of his Parisian period. His masterful intertwining of gold, green and yellow paint reflects Delaney's growing boldness during his period with Paul Facchetti Gallery. It was one of 15 oil paintings exhibited in the artist's first solo exhibition there in the spring of 1960; according to Patricia Sue Canterbury, "the exhibition was a defining moment in the artist's career, as Facchetti's was the most important gallery in France with which Delaney ever exhibited." Beauford Delaney lived at 28 rue Paul Valliant in the Parisian suburb of Clamart from Janaury 1956 until the fall of 1960. Canterbury p. 59.

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EMMA AMOS (1938 -   ) Harvest II.

Lot 50: EMMA AMOS (1938 - ) Harvest II.

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Description: EMMA AMOS (1938 - ) Harvest II. Color etching, aquatint and drypoint, 1959. 295x508 mm; 11 5/8x20 inches, full margins. Artist's proof. Signed, titled, dated and inscribed "Proof" in pencil, lower margin. A very good impression. Amos made this early print after she returned to London's Central School to continue her printmaking. During her fourth year at Antioch College in Ohio, she first went to England and studied etching at the Central School. According to Amos, "I really think I found and stopped worrying about myself as an artist my second year in England--etching and the whole idea of printmaking and having a handsome, a well-thought-out and finished work that satisfies you."

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