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Auction Description for Swann: AFRICAN-AMERICAN FINE ART
Viewing Notes:
Exhibition & Sale Schedule: Sale 2303 - African-American Fine Art - begins at 2:30pm in New York on Thurs, Feb 14. All material in Sale 2303 on display at our premises in New York City, 104 East 25th Street, as follows - Sat, Feb 9: Noon to 5pm - Mon, Feb 11: 10am to 6pm - Tues, Feb 12: 10am to 6pm - Wed, Feb 13: 10am to 6pm - Thurs, Feb 14: 10am to Noon.

AFRICAN-AMERICAN FINE ART

by Swann Auction Galleries

Platinum House

147 lots with images

February 14, 2013

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

147 Lots
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EDWARD M. BANNISTER (1828 - 1901) Landscape, Field and Woods.

Lot 1: EDWARD M. BANNISTER (1828 - 1901) Landscape, Field and Woods.

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Description: EDWARD M. BANNISTER (1828 - 1901) Landscape, Field and Woods. Watercolor and pencil on thin wove paper, circa 1885. 102x178 mm; 4x7 inches. Initialed in pencil, lower right. Titled in pencil on the mount, lower margin. Provenance: private collection, New York; thence by descent to the current owner. Exhibited: The Studio Museum in Harlem, New York, with the label on the frame back. Landscape, Field and Woods is a beautiful and fresh watercolor study, and a scarce example of a plein air sketch by this important Rhode Island landscape artist. This is only the third watercolor by the artist to come to auction. Similar sketches in both pencil and watercolor are in the collection of the Amistad Research Center, Tulane University, New Orleans.

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EDWARD M. BANNISTER (1828 - 1901) Untitled (Rhode Island Landscape).

Lot 2: EDWARD M. BANNISTER (1828 - 1901) Untitled (Rhode Island Landscape).

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Description: EDWARD M. BANNISTER (1828 - 1901) Untitled (Rhode Island Landscape). Oil on linen canvas, 1882. 305x355 mm; 12x14 inches. Signed and dated in oil, lower right. Provenance: private collection. This moody, tonal landscape is from the artist's mid-career period in Rhode Island. Bannister helped found the Providence Art Club in 1878, which became the model for the Rhode Island School of Design.

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HENRY OSSAWA TANNER (1859 - 1937) The House (Wall) in Blue.

Lot 3: HENRY OSSAWA TANNER (1859 - 1937) The House (Wall) in Blue.

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Description: HENRY OSSAWA TANNER (1859 - 1937) The House (Wall) in Blue. Oil on wood panel, circa 1908-12. 331x235 mm; 13x9 1/4 inches. Titled in pencil, upper right verso. Provenance: ex-collection the estate of the artist, stamped and signed by the artist's son, Jesse O. Tanner, Le Douet, France; The Paris American Art Company, 125 boulevard Montparnasse, Paris and 2 rue Bonaparte, Paris, with both ink stamps on the verso, private collection; thence by descent to the current owner. Tanner made studies on small wood panels during his trips to Tangiers and the Holy Land from the end of the 19th century until 1912. He made his first two trips to Egypt and Palestine during 1897-98. At this time, his painting style also took on a looser, impressionist manner as seen in Study for Christ and Nicodemus on a Rooftop, circa 1898-1899, in the collection of the Smithsonian Institution. According to Adrienne L. Childs's essay "Tanner and 'Oriental' Africa," he later visited Algeria from February to March of 1908, but did most of his modernist "Orientalist" works from his last 1912 visit to Morocco.The dark shadows and blue palette of this empty nocturnal street scene date this painting to this later period. Marley p. 100.

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MAY HOWARD JACKSON (1877 - 1931) Shell-Baby (Baby in a Clam Shell).

Lot 4: MAY HOWARD JACKSON (1877 - 1931) Shell-Baby (Baby in a Clam Shell).

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Description: MAY HOWARD JACKSON (1877 - 1931) Shell-Baby (Baby in a Clam Shell). Cast bronze, with a dark brown patina, 1914. Approximately 83x127x89 mm; 3 1/4x5x3 1/2 inches. Signed, dated and inscribed with the foundry mark "Desygn ©" on the back. Provenance: private collection. This early, small bronze is the first work by this early 20th century sculptor to come to auction. Born the same year as Meta Warrick Fuller, according to Lisa E. Farrington, both came from privileged families that embraced the fine arts and studied at the Pennsylvania Museum School and the Pennsylvania Academy of the Fine Arts. May Howard Jackson won a scholarship to attend in 1895, the year before Fuller--becoming the first African-American woman to attend. She married in 1902, and moved to Washington, DC, establishing a studio there and exhibiting at the Corcoran Gallery and the Veerhoff Galleries by 1916. She was rejected by the Washington Society of Fine Arts and the National Academy of Design before joining the faculty at Howard University, where she taught James A. Porter. She showed her works at the Harmon Foundation and the Barnett-Aden Gallery in the 1920s and '30s. Her work today is found in the Barnett-Aden Collection and at Howard University. Farrington pp. 72-74; St. James p. 266.

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WILLIAM EDOUARD SCOTT (1884 - 1964) Untitled (Sharecropper).

Lot 5: WILLIAM EDOUARD SCOTT (1884 - 1964) Untitled (Sharecropper).

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Description: WILLIAM EDOUARD SCOTT (1884 - 1964) Untitled (Sharecropper). Oil on masonite, circa 1915-18. 330x410 mm; 13x16 1/8 inches. Signed in oil, lower right. Provenance: Marie M. Young; Michael Rosenfeld Gallery, New York (2006); John Axelrod, Boston (2008); the Museum of Fine Arts, Boston (2011). Exhibited: African-American Art: 200 Years, Michael Rosenfeld Gallery, New York, January 10 - March 8, 2008, with the labels on the frame back. Illustrated: African-American Art: 200 Years, Michael Rosenfeld Gallery, New York, p. 49. This landscape is a scarce, early depiction of the rural South by Scott--one of only a few of his Southern paintings to come to auction. From Indianapolis, William Edouard Scott trained at the Art Institute of Chicago from 1904-08, and then studied with Henry Ossawa Tanner in France. When he returned from Europe in 1912, he toured the South to paint rural scenes that were not typical of the landscape genre. This painting, and works such as It's Going to Come, 1916, of a proud woman outside her wooden shack, combine his confident paint handling with realist imagery of a poor, rural countryside. His 1918 oil, Traveling (Lead Kindly Light), was used as the April 1918 cover of Crisis magazine; it was inspired by his own grandparents who had traveled by ox cart from North Carolina to Indianapolis in 1847. Reynolds/Wright p. 255; Taylor/Warkel pp. 22-24.

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JAMES V. HERRING (1887 - 1969) Untitled (Beach Landscape).

Lot 6: JAMES V. HERRING (1887 - 1969) Untitled (Beach Landscape).

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Description: JAMES V. HERRING (1887 - 1969) Untitled (Beach Landscape). Oil on illustration board, circa 1920-25. 216x305 mm; 8 1/2x12 inches. Signed in oil, lower right. Provenance: private collection. This early 20th century impressionist beach scene is only the second work, and the first landscape, by this influential artist and educator to come to auction. James Vernon Herring founded the Howard University Department of Art in 1922, and was a mentor to James A. Porter and David C. Driskell while chairman of the department from 1932-1952. Professor Herring also judged and contributed essays to exhibitions at the Harmon Foundation in 1930 and 1931 in New York. In 1943, with Alonzo J. Aden, Herring opened the famous Barnett-Aden Gallery in Washington, DC. Today, his paintings are very scarce. This plein air landscape is similar in atmospheric theme to the two works of his that we have located, Campus Landscape, 1922, and Newport Scene, not dated, both in the collection of Howard University.

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HALE WOODRUFF (1900 - 1980) Untitled (Fishing Boats in a Normandy Port).

Lot 7: HALE WOODRUFF (1900 - 1980) Untitled (Fishing Boats in a Normandy Port).

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Description: HALE WOODRUFF (1900 - 1980) Untitled (Fishing Boats in a Normandy Port). Oil on linen canvas, circa 1928. 330x410 mm; 13x16 1/8 inches. Signed in oil, lower left. Provenance: private collection. This charming landscape is likely a view of the picturesque fishing village of Honfluer, where Woodruff lodged in the summer of 1928. Woodruff was in the second year of his French sojourn after arriving in Paris in the fall of 1927 with money earned from his Harmon Foundation prize. Leininger-Miller p. 119.

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ALBERT ALEXANDER SMITH (1896 - 1940) Spinning a Yarn.

Lot 8: ALBERT ALEXANDER SMITH (1896 - 1940) Spinning a Yarn.

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Description: ALBERT ALEXANDER SMITH (1896 - 1940) Spinning a Yarn. Oil on linen canvas, 1930. 500x650 mm; 19 3/4x25 1/2 inches. Signed in oil, lower right recto. Signed and titled in ink on upper stretcher bar, verso. Provenance: the estate of the artist, France; Hôtel Drouot, Paris, lot 195 (as Scène de Vendanges), November 7, 1991; Michael Rosenfeld Gallery, New York (2000); John Axelrod, Boston (2001); the Museum of Fine Arts, Boston (2011). Exhibited: African-American Art, 20th Century Masterworks, VII, Michael Rosenfeld Gallery, New York, January 13 - March 4, 2000. Illustrated: African-American Art, 20th Century Masterworks, VII, Michael Rosenfeld Gallery, p. 50. Only the second oil painting by this expatriate artist to come to auction in the U.S., Spinning a Yarn typifies Albert Alexander Smith's work. This is one of his more colorful depictions of popular music and dance--an American genre scene for audiences both in France where he was living at the time, and for collectors back in the U.S. The year before, in 1929, Smith won the Harmon Foundation's bronze medal for both his paintings and prints. As Theresa Leininger-Miller points out, the depictions reflect his experiences in Paris as a professional banjo player, and imagined settings from a rural American South that he knew little about. Smith's figures often reflected stereotypes of African Americans, but he painted in a sophisticated, learned style, "warm shades of brown and gold--in the manner of Rembrandt and Velàzquez, artists whom Smith admired," and whose work he had studied in his travels throughout France, Italy and Spain. Leininger-Miller p. 229.

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ALBERT ALEXANDER SMITH (1896 - 1940) Spinning a Yarn.

Lot 9: ALBERT ALEXANDER SMITH (1896 - 1940) Spinning a Yarn.

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Description: ALBERT ALEXANDER SMITH (1896 - 1940) Spinning a Yarn. Pencil and graphite on paper, 1930. 171x254 mm; 6 3/4x10 inches. Signed in pencil, upper right * Etching on cream wove paper, 1930. 165x241 mm; 6 1/2x9 1/2 inches, wide (full ?) margins. Signed and numbered 10/50 in pencil, lower margin. Provenance: the estate of the artist, France; Hôtel Drouot, Paris, lot 195 (as Scène de Vendanges), November 7, 1991; Michael Rosenfeld Gallery, New York (2000); John Axelrod, Boston (2001); the Museum of Fine Arts, Boston (2011). Exhibited: African-American Art, 20th Century Masterworks, VII, Michael Rosenfeld Gallery, New York, January 13 - March 4, 2000. Illustrated: African-American Art, 20th Century Masterworks, VII, Michael Rosenfeld Gallery, p. 51. After graduating from the National Academy of Design in New York, Albert Alexander Smith was one of the few known African-American printmakers working in the early 1920s. Through the 1930s, Smith made many etchings, including a series of portraits of great black leaders at the request of his patron Arthur Schomburg, as well as lithographs of other Southern scenes, such as Spinning a Yarn. His artwork was also featured on the covers of the periodicals Crisis and Opportunity at the time. Leininger-Miller pp. 210-11.

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WILLIAM EDOUARD SCOTT (1884 - 1964) The Orange Seller.

Lot 10: WILLIAM EDOUARD SCOTT (1884 - 1964) The Orange Seller.

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Description: WILLIAM EDOUARD SCOTT (1884 - 1964) The Orange Seller. Oil on canvas, circa 1931-32. 560x813 mm; 22x32 inches. Signed in oil, lower left. Provenance: the estate of Alphanette White Price, Chicago; private collection. This market scene is a very good example from William Edouard Scott's early Haitian period. The crouched figure of the orange seller also appears in the Turkey Vendor in the DuSable Museum of African American History, Chicago, and his later Haitian Market, 1950, in the collection of Fisk University. The year Scott spent in Haiti helped shape the rest of his career. Scott was awarded a Julius Rosenwald Foundation scholarship in 1931 to study and paint the African beliefs and customs that had survived in the culture of this still independent island nation. Scott left for Haiti that year, and did many paintings of the docks and markets at Port-au-Prince. Small studies were later translated into larger canvases in the artist's rooftop studio of the Excelsior Hotel in Port-au-Prince. Scott continued to paint Haitian scenes upon his return to Chicago, but soon returned to mural painting. Schulman p. 86; Taylor/Warkel pp. 32-35.

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LAURA WHEELER WARING (1887 - 1948) Girl in Red Dress.

Lot 11: LAURA WHEELER WARING (1887 - 1948) Girl in Red Dress.

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Description: LAURA WHEELER WARING (1887 - 1948) Girl in Red Dress. Oil on board, circa 1935. 457x355 mm; 18x14 inches. Signed in oil, lower left recto. With the artist's name and Philadelphia address inscribed in red crayon on the verso. Provenance: the artist; Milton Morris James, Yeadon, PA; Michael Rosenfeld Gallery, New York (2000); John Axelrod, Boston (2000), the Museum of Fine Arts, Boston (2011), with the gallery label on the frame back. Exhibited: Michael Rosenfeld Gallery, African-American Art, 20th Century Masterworks, VII, New York, January 13 - March 4, 2000. Illustrated: Lisa E. Farrington, Creating Their Own Image: The History of African-American Women Artists, figure 4.7, p. 84; Michael Rosenfeld Gallery, African-American Art, 20th Century Masterworks, VII, p. 60. This striking oil painting of a beautiful young woman is the first portrait by this Pennsylvania artist to come to auction. Although they are very scarce today, Waring's portraits were known in Philadelphia and New York for capturing a new, modern sensibility. Farrington notes how "Warings's paintings, often portraits of friends, family and Harlem literati, are paradigmatic of the images of upscale blacks that marked the Harlem Renaissance." Waring showed her work at the Harmon Foundation in New York, the Pyramid Club in Philadelphia and at Howard University through the 1940s. Her work is in the collections of the National Portrait Gallery, the Smithsonian American Art Museum and Howard University, all in Washington, DC. Farrington p. 82.

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RICHMOND BARTHÉ (1901 - 1989) Feral Benga.

Lot 12: RICHMOND BARTHÉ (1901 - 1989) Feral Benga.

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Description: RICHMOND BARTHÉ (1901 - 1989) Feral Benga. Cast bronze, with a dark brown patina, modeled in 1935, cast in 1986. Approximately 483 mm; 19 inches high (not including the marble base.) From the edition of 10, cast under the supervision of the artist and the Richmond Barthé Trust. Signed, inscribed "©," dated 1986, and numbered 9/10 in the base edge. Provenance: the artist; Samella Lewis, Los Angeles (before 1989); Chester Helms, San Francisco (circa 1994); John Axelrod, Boston (circa 1994-95); the Museum of Fine Arts, Boston (2011). Feral Benga represents the culmination of Richmond Barthé's study of the figure in sculpture, anatomy and dance in the 1930s, and his pioneering realization of an ideal male nude. According to Barthé scholar Margaret Rose Vendryes, Feral Benga, Barthé's "signature piece," was completed within a few months of seeing the Folies Bergères dancer Benga perform on stage during his first visit to Paris in 1934. Vendryes describes how Benga was an exotic celebrity--a Senegalese cabaret dancer known in Parisian and Manhattan gay circles, who had perfomed on stage with Josephine Baker and had even appeared in a Jean Cocteau surrealist film. Barthé used postcards, photographs and his memory to recreate a life-like representation of the dancer. The raised sword pose also recalls the muscular nudes of the famous Mannerist engraving by Antonio Pollaiuolo, Battle of Naked Men, circa 1470. Grander in scale than its actual size, Feral Benga was one ot the artist's major achievements in his life-long body of work, a natural and sensual repesentation of the male nude, made at the height of his career. The sculpture was first shown at the 1937 Dance International exhibition at Rockefeller Center, and was later featured and illustrated in Alain Locke's seminal survey, The Negro in Art.The figure is also important as a groundbreaking evocation of both male and homosexual sexuality in early 20th century American Art. This is the first time that any cast of this bronze sculpture, the artist's most celebrated figure, has come to auction--there are only two bronzes known to exist from the 1930s casting. Vendryes pp. 66-69.

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HALE WOODRUFF (1900 - 1980) Sunday Promenade.

Lot 13: HALE WOODRUFF (1900 - 1980) Sunday Promenade.

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Description: HALE WOODRUFF (1900 - 1980) Sunday Promenade. Linoleum cut on thin imitation Japan paper, circa 1935. 248x197 mm; 9 3/4x7 3/4 inches, full margins. A later impression, circa 1970. Signed and titled in pencil, lower margin. A good, dark impression.

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HALE WOODRUFF (1900 - 1980) Returning Home.

Lot 14: HALE WOODRUFF (1900 - 1980) Returning Home.

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Description: HALE WOODRUFF (1900 - 1980) Returning Home. Linoleum cut on thin imitation Japan paper, circa 1935. 254x206 mm; 10x8 1/8 inches, full margins. A later impression, circa 1970. Signed and titled in pencil, lower margin. A good, dark impression.

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NORMAN LEWIS (1909 - 1979) Two Barns.

Lot 15: NORMAN LEWIS (1909 - 1979) Two Barns.

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Description: NORMAN LEWIS (1909 - 1979) Two Barns. Watercolor on cream wove paper, 1937. 450x570 mm; 17 3/4x22 1/4 inches. Signed and dated in pencil, lower right. Provenance: private collection. Norman Lewis painted the outskirts of Greensboro, NC while teaching there in 1937. Lewis also did a related series of lithographs that year, including Madame, Southern Landscape and Woman with a Cup. These early works from his brief Southern period are very scarce.

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DOX THRASH (1893 - 1965) Untitled (Street Scene with View of City Hall/View of Center City).

Lot 16: DOX THRASH (1893 - 1965) Untitled (Street Scene with View of City Hall/View of Center City).

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Description: DOX THRASH (1893 - 1965) Untitled (Street Scene with View of City Hall/View of Center City). Double-sided watercolor on buff wove paper, circa 1940. 343x406 mm; 13 1/2x16 inches. Signed twice in watercolor, lower left recto and lower right verso. Provenance: private collection. This double-sided watercolor reveals this Philadelphia artist's interest in portraying his city from the perspective of the working class people who lived there. Thrash's prints, such as the lithograph View of Philadelphia with City Hall, circa 1939-1941, and the carborundum mezzotint Backstage, circa 1939-40, also contrast street scenes with the city's skyline.

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HUGHIE LEE-SMITH (1915 - 1999) Untitled (Reclining Figure).

Lot 17: HUGHIE LEE-SMITH (1915 - 1999) Untitled (Reclining Figure).

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Description: HUGHIE LEE-SMITH (1915 - 1999) Untitled (Reclining Figure). Pencil on cream wove paper, 1938. 229x305 mm; 9x12 inches, full margins. Signed and dated "Nov. 1938" in pencil, lower right. Provenance: the artist; thence by descent to the current owner.

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HUGHIE LEE-SMITH (1915 - 1999) Untitled (Seated Figure).

Lot 18: HUGHIE LEE-SMITH (1915 - 1999) Untitled (Seated Figure).

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Description: HUGHIE LEE-SMITH (1915 - 1999) Untitled (Seated Figure). Pencil on cream wove paper, 1938. 305x229 mm; 12x9 inches, full margins. Signed and dated "Nov. 1938" in pencil, lower right. Provenance: the artist; thence by descent to the current owner.

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DOX THRASH (1893 - 1965) The Champ.

Lot 19: DOX THRASH (1893 - 1965) The Champ.

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Description: DOX THRASH (1893 - 1965) The Champ. Aquatint on cream wove paper, late 1930s. 89x80 mm; 3 1/2x3 1/8 inches, full margins. Signed and titled in pencil, lower margin. A very good, dark impression of this scarce print. According to John Ittmann, The Champ possibly depicts boxer Joe Louis, world heavyweight champion from 1937 to 1949. Ittmann records the location of only three other impressions of this print in private collections. Ittmann 44.

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RAYMOND STETH (1917 - 1997) Wrapping Tobacco.

Lot 20: RAYMOND STETH (1917 - 1997) Wrapping Tobacco.

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Description: RAYMOND STETH (1917 - 1997) Wrapping Tobacco. Lithograph on cream wove paper, circa 1940. 184x302 mm; 7 1/4x11 7/8 inches, full margins. Signed, titled, inscribed "WPA Art Program" and numbered 11/35 in pencil, lower margin. A very good, crisp impression of this very rare print. We have found only two records of Steth's prints at auction in the past 20 years. Another impression of Wrapping Tobacco is in the collection of the Metropolitan Museum of Art. Raymond Steth joined Dox Thrash at the Federal Art Project in the Philadelphia Fine Print Workshop in the fall of 1939. According to Dr. Leslie King-Hammond in her essay Black Printmakers and the WPA, "Steth, working primarily in aquatint and carbograph, produced a powerful series of studies that reflect deeply and often critically on Black life and culture in America. ... Steth was a master of content and commentary."

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CLAUDE CLARK (1915 - 2001) Scavenger.

Lot 21: CLAUDE CLARK (1915 - 2001) Scavenger.

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Description: CLAUDE CLARK (1915 - 2001) Scavenger. Etching on cream wove paper, 1939-1940. 127x178 mm; 5x7 inches, full margins. Signed and titled in pencil, lower margin. A very good, dark impression of this scarce print.

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CLAUDE CLARK (1915 - 2001) Saturday Night.

Lot 22: CLAUDE CLARK (1915 - 2001) Saturday Night.

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Description: CLAUDE CLARK (1915 - 2001) Saturday Night. Etching on cream wove paper, circa 1939-1940. 124x155 mm; 4 7/8x6 1/8 inches, full margins. Signed, titled, inscribed "etching" and numbered 7/10 in pencil, lower margin. A very good, dark impression.

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LOÏS MAILOU JONES (1905 - 1998) Provincetown Harbor Scene.

Lot 23: LOÏS MAILOU JONES (1905 - 1998) Provincetown Harbor Scene.

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Description: LOÏS MAILOU JONES (1905 - 1998) Provincetown Harbor Scene. Watercolor on wove paper, 1940. 140x210 mm; 5 1/2x8 1/4 inches. Signed and dated in ink, lower right recto. Signed, numbered 6 and inscribed "Art Department, Howard University, Wash., D.C." in pencil, upper left verso. Provenance: acquired directly from the artist; private collection.

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AUGUSTA SAVAGE (1892 - 1962) Lift Every Voice and Sing.

Lot 24: AUGUSTA SAVAGE (1892 - 1962) Lift Every Voice and Sing.

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Description: AUGUSTA SAVAGE (1892 - 1962) Lift Every Voice and Sing. White metal cast with copper patina, painted gold, circa 1939. Approximately 270x240x100 mm; 10 3/4x9 1/2x4 inches. Incised signature and "World's Fair 1939" at the base. Cast by Augusta Savage Studios, Inc., New York. Provenance: private New York collection. A life-size version of Lift Every Voice and Sing was commissioned by the 1939 New York World's Fair committee in 1937. Savage left the WPA to work on this monumental project, inspired by James Weldon's and Rosamund Johnson's anthem, Lift Every Voice. Sadly, the original work was destroyed when the fair was over, but these smaller, souvenir versions were cast by the artist. When the commission was finished, Savage was left unemployed and destitute, and she was forced to give up her career as an artist. In the mid 1940s, Savage lived a reclusive life in Saugerties, NY, where she began to explore her interest in writing. In 1962, Savage returned to New York City, but died of cancer later that same year.

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BERNARD GOSS (1913 - 1966) Carter Godwin Woodson.

Lot 25: BERNARD GOSS (1913 - 1966) Carter Godwin Woodson.

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Description: BERNARD GOSS (1913 - 1966) Carter Godwin Woodson. Oil on masonite, circa 1940. 965x711 mm; 38x28 inches. Signed in ink, lower right recto (with an indistinct earlier signature, lower right recto). Titled in ink on the verso. Provenance: private collection. This striking portrait is an unusually large and early painting by the Chicago Renaissance artist Bernard Goss. Carter Godwin Woodson (December 19, 1875 – April 3, 1950) was a historian, author, journalist and the founder of the Association for the Study of African American Life and History. Woodson was one of the first scholars to study African-American history, and a founder of the Journal of Negro History. This is very likely one of a series of portraits of important African-American figures that Goss painted for the American Negro Exposition in Chicago, 1940. Two other portraits from the series are also in a private Chicago collection. In the 2008 exhibition Convergence: Jewish and African American Artists in Depression Era Chicago, there was a similar painting of the inventor Elijah McCoy by Goss from this series. Born in Sedalia, MI, Bernard Goss graduated from the University of Iowa in 1935. He soon moved to Chicago where he studied with George Neal and at the Art Institute of Chicago, and during the WPA period, served in the easel division of the Illinois Art Project. In 1939, he married Margaret Burroughs, who had lead the drive to create the Southside Community Art Center. Their carriage house home was an important meeting place for the group of founding artist members--this important Federal Art Project-funded center opened on Chicago's South side in 1941 and is the only surviving WPA art center today. Goss was part of a circle of artists and writers that included Joseph Kersey, Charles White and Richard Wright. Unfortunately, little of Goss's art work from this early period is known today, and this is only the third oil painting of his to come to auction.

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WILLIAM E. SMITH (1913 - 1997) But There Ain't No Back to a Merry-Go-Round.

Lot 26: WILLIAM E. SMITH (1913 - 1997) But There Ain't No Back to a Merry-Go-Round.

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Description: WILLIAM E. SMITH (1913 - 1997) But There Ain't No Back to a Merry-Go-Round. Linoleum cut on wove paper, circa 1940. 211x152 mm; 8 3/8x6 inches, full margins. Signed and titled in pencil, lower margin. A very good, dark impression of this scarce print.

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WILLIAM E. SMITH (1913 - 1997) Bill as Emperor Jones.

Lot 27: WILLIAM E. SMITH (1913 - 1997) Bill as Emperor Jones.

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Description: WILLIAM E. SMITH (1913 - 1997) Bill as Emperor Jones. Linoleum cut on wove paper, circa 1940. 232x204 mm; 9 1/8x8 1/8 inches, wide margins. Signed and titled in pencil, lower margin. A dark and richly inked impression. Eugene O'Neill's The Emperor Jones was one of several plays produced by the WPA's Federal Theatre Project, in which blacks and black themes were featured.

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CHARLES ALSTON (1907 - 1977) Shade Chadman.

Lot 28: CHARLES ALSTON (1907 - 1977) Shade Chadman.

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Description: CHARLES ALSTON (1907 - 1977) Shade Chadman. Goauche on tan wove paper, circa 1940-41. 483x381 mm; 19x15 inches. Signed in pencil, lower right recto. Signed, titled and numbered 15 in pencil on a fragment of the backing paper, verso. Provenance: Donna Edwards and Josiah Mizukami, Hawaii; Michael Rosenfeld Gallery, New York (2001); John Axelrod, Boston (2001); the Museum of Fine Arts, Boston (2011). Exhibited: African-American Art, 20th Century Masterworks, VIII, Michael Rosenfeld Gallery, New York, January 18 - March 10, 2001 (titled Shade Chapman). Illustrated: Lindsay J. Twa, Artist's Statements at Work: Visual Artists and the Julius Rosenwald Fund, Forum for Modern Language Studies, Oxford University Press, University of St. Andrews, p. 12; Alvia Wardlaw, Charles Alston, The David Driskell Series of African American Art: Volume VI, p. 35; African-American Art, 20th Century Masterworks, VIII, Michael Rosenfeld Gallery, New York, p. 20. This painting is from the important series of works on paper Alston completed during his Rosenwald Foundation scholarship to travel through the South between 1940 and 1941. This scarce gouache is one of a few known today. According to Daniel Schulman, Charles Alston's Rosenwald Fellowship project planned "to help do for the South in art what Grant Wood, John Steuart Curry and Thomas Hart Benton accomplished for the Middle West." His Rosenwald artist statement states his aim to create African-American imagery as iconic and uniquely American as Grant Wood's American Gothic. Lindsay J. Twa uses an archival photograph of Shade Chadman from Fisk University to illustrate how he aimed to produce "his equivalent to Wood's Iowa farmer and daughter:" "Here, Alston isolates his rural figure, capturing the sitter from a viewpoint slightly below. This compresses and distorts the construction of the face at the same time as it elongates his neck and upper body. The figure seems simultaneously monumental and emaciated. No longer a portrait, nor a straight 'ethnographic type,' Alston's worker becomes an expressive testament of fortitude in the face of want." Unfortunately, Alston's Southern project was cut short by his enlistment into the army in 1942. Alston produced vivid imagery during this Rosenwald period while traveling through the Carolinas, Alabama, Mississippi, Arkansas and Georgia. In Durham, NC, he followed Giles Hubert, an inspector of the Farm Security Adminstration, to many farm sites, and then ended up in Atlanta. There, Alston found a studio in a library of Atlanta University, where he lived with Hale Woodruff. Schulman describes two other gouaches from this period, Farm Boy, 1941, in the collection of Clark Atlanta University Art Galleries, and another semi-Cubist work entitled Ruin; another gouache, Tobacco Farmer, 1940, was also in the collection of Michael Rosenfeld Gallery. Kenkeleba p. 22; Schulman pp. 90-91; Twa p. 12; Wardlaw p. 33.

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ALLAN ROHAN CRITE (1910 - 2007) Our Lady of Humility.

Lot 29: ALLAN ROHAN CRITE (1910 - 2007) Our Lady of Humility.

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Description: ALLAN ROHAN CRITE (1910 - 2007) Our Lady of Humility. Pen and ink on cream wove paper, 1947. 165x165 mm; 6 1/2x6 1/2 inches. Signed and dated in ink, lower left recto. Signed, titled and inscribed "2 Dilworth St, Apt. 2, Boston-18-Mass" (the artist's address) in blue ink, with the artist's blue ink address stamp on the mount, verso. Provenance: acquired directly from the artist; private collection.

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ALLAN ROHAN CRITE (1910 - 2007) Adam and Eve.

Lot 30: ALLAN ROHAN CRITE (1910 - 2007) Adam and Eve.

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Description: ALLAN ROHAN CRITE (1910 - 2007) Adam and Eve. Three linoleum cuts, with handcoloring, on a gold leafed mount, circa 1937-40. Each approximately 146x64 mm; 5 3/4x2 1/2 inches; together 165x230 mm; 6 1/2x9 inches. Signed in ink on the mount, lower left recto. Signed, initialed and inscribed "2 Dilworth Street Boston 18 Mass," lower left verso. Very good impressions of this scarce triptych.

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PALMER HAYDEN (1890 - 1973) New York, South Ferry.

Lot 31: PALMER HAYDEN (1890 - 1973) New York, South Ferry.

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Description: PALMER HAYDEN (1890 - 1973) New York, South Ferry. Oil on linen canvas, circa 1940. 558x762 mm; 22x30 inches. Signed in oil, lower left recto. Signed and titled in oil, verso. Provenance: Miriam A. Hayden, the artist's wife; M. Hanks Gallery, Santa Monica, CA; John Axelrod, Boston (1997); Museum of Fine Arts, Boston (2011). This fine example from his New York period displays Palmer Hayden's long fascination with painting nautical scenes. From his early paintings of Boothbay, ME to his time at Concarneau on the Brittany coast and along the Seine in Paris, Hayden painted many seascapes and river scenes teeming with boats and activity. With his return to New York in 1937, Hayden included the rapidly changing urban scenery in his landscapes.

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NORMAN LEWIS (1909 - 1979) Meeting Place.

Lot 32: NORMAN LEWIS (1909 - 1979) Meeting Place.

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Description: NORMAN LEWIS (1909 - 1979) Meeting Place. Oil on canvas, 1941. 914x616 mm; 36x24 1/4 inches. Signed and dated in oil, lower left recto. Titled in pencil, upper stretcher bar verso. Provenance: the artist; William Charles Hinkley, V, New York; Sylvia Wolf, New York; Michael Rosenfeld Gallery, New York; Joyce Wein, New York; the estate of Joyce Wein, New York; Michael Rosenfeld Gallery, New York (2006); John Axelrod, Boston (2006); the Museum of Fine Arts, Boston (2011). Exhibited: Kenkeleba Gallery, New York; Michael Rosenfeld Gallery, New York; Syncopated Rhythms: 20th Century African American Art from the George & Joyce Wein Collection, Boston University Art Gallery, November 18, 2005 - January 22, 2006, with the gallery labels on the frame back. Illustrated: Patricia Hills and Melissa Renn, Syncopated Rhythms: 20th Century African American Art from the George & Joyce Wein Collection, p. 71 (titled Shopping). This colorful Norman Lewis painting is the first of his WPA-era oils to come to auction, and is an excellent example of his work in social realism. With this vivid but sensitive depiction of lady bargain shoppers, Norman Lewis combines his interest in social subjects with a growing modernist approach in the early 1940s. In the mid-1930s, Norman Lewis had been teaching art at P.S. 139 and working under the auspices of the WPA at the Harlem Community Art Center, and briefly in 1937 in North Carolina. Norman Lewis painted other images of everyday women during the Depression, including Dispossessed (Family) and Two Women Reading, both 1940, and both in the Harriet and Harmon Kelley Collection of African-American Art, San Antonio.

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CALVIN BURNETT (1921 - 2007) Man Shortage.

Lot 33: CALVIN BURNETT (1921 - 2007) Man Shortage.

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Description: CALVIN BURNETT (1921 - 2007) Man Shortage. Brush and ink on thick cream wove paper, 1945. 333x483 mm; 13 1/4x19 inches. Signed and dated "1945 - Aug 5" in ink, lower left recto. Signed, titled, dated and inscribed "drawing pen and ink on paper" in ink, upper right verso. Provenance: private collection.

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WILLIAM E. SMITH (1913 - 1997) Two Soldiers (Nostalgia).

Lot 34: WILLIAM E. SMITH (1913 - 1997) Two Soldiers (Nostalgia).

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Description: WILLIAM E. SMITH (1913 - 1997) Two Soldiers (Nostalgia). Watercolor on wove paper, 1945. 235x160 mm; 9 1/4x6 3/8 inches. Signed and dated "1/5" and "45" in ink, lower right recto. Titled in pencil, upper left verso. Provenance: the artist; Marjorie Witt Johnson; John Axelrod, Boston (2000); the Museum of Fine Arts, Boston (2011). During World War II, Smith served in the United States Army, possibly with an all-black unit that participated in the famous Red Ball Express, a transportation and supply mission in France. In 1944, he won a trip to Paris in a GI art contest on the theme "How to Fight Mud as Well as Nazis." Smith made sketches of fellow GIs, and painted other watercolor scenes in France and Belgium from 1944-45. Biography courtesy of Susan Teller Gallery.

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ALLAN ROHAN CRITE (1910 - 2007) Untitled (Backyard Scene).

Lot 35: ALLAN ROHAN CRITE (1910 - 2007) Untitled (Backyard Scene).

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Description: ALLAN ROHAN CRITE (1910 - 2007) Untitled (Backyard Scene). Watercolor, pen, ink and wash on wove paper, 1943. 273x203 mm; 10 3/4x8 inches. Signed, initialed and dated "6/43" in watercolor, lower right recto. Signed and inscribed "2 Dilworth St, Boston, Mass" (the artist's address) in ink, lower left verso. Provenance: acquired directly from the artist; private collection. This delightful watercolor is a fresh and charming street view that epitomize's Crite's "Neighborhood Series" from the 1930s and 40s--his observations of the activities of African Americans in Boston's Roxbury and South End districts.

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LOÏS MAILOU JONES (1905 - 1998) Backyard in Snow.

Lot 36: LOÏS MAILOU JONES (1905 - 1998) Backyard in Snow.

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Description: LOÏS MAILOU JONES (1905 - 1998) Backyard in Snow. Watercolor on wove paper, 1947. 343x495 mm; 13 1/2x19 1/2 inches. Signed and dated in watercolor, lower right. Provenance: collection of the artist, with her 17th Street Washington, DC address label on the frame back; thence by descent to the Loïs Mailou Jones Pierre-Noël Trust.

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ROBERT BLACKBURN (1920 - 2003) Black Madonna.

Lot 37: ROBERT BLACKBURN (1920 - 2003) Black Madonna.

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Description: ROBERT BLACKBURN (1920 - 2003) Black Madonna. Lithograph on cream wove paper, 1947. 305x229 mm; 12x9 inches, full margins. Signed, titled and dated in pencil, lower margin. A good, dark impression of this early, scarce print.

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ROMARE BEARDEN (1911 - 1988) Untitled (Three Gladiators).

Lot 38: ROMARE BEARDEN (1911 - 1988) Untitled (Three Gladiators).

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Description: ROMARE BEARDEN (1911 - 1988) Untitled (Three Gladiators). Brush and ink on cream wove paper, circa 1947. 500x650 mm; 19 1/2x25 1/2 inches. Signed in ink, upper left. Provenance: private collection. Romare Bearden took on the heroic theme of the Trojan War in Homer's Iliad for a series of watercolors painted after 1945. Each of these watercolors started with a fluid brush and ink drawing like this one. Fine p. 18.

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GORDON PARKS (1912 - 2006) Harlem, New York City.

Lot 39: GORDON PARKS (1912 - 2006) Harlem, New York City.

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Description: GORDON PARKS (1912 - 2006) Harlem, New York City. Silver print, 1948. 197x197 mm; 7 3/4x7 3/4 inches, full margins. From Profile of Poverty, sponsored by the Office of Economic Opportunity, with the label on the verso. Provenance: private collection. In 1948, Gordon Parks and Ralph Ellison collaborated on a photojournalism project, the subject of which was the LaFargue Psychiatric Clinic in Harlem. The two men roamed Harlem, making images for what Ellison believed would make for "something new in photojournalism." Park's photographs were later published in Life magazine. In 1965, the Smithsonian Museum held an exhibition, Profile of Poverty, featuring the works of several documentary photographs as a way of eliciting emotion towards the national war on poverty. Parks's depiction of Harlem was one of the photographs selected for this government sponsored show.

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ROY DECARAVA (1919 - 2009) No Work Today.

Lot 40: ROY DECARAVA (1919 - 2009) No Work Today.

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Description: ROY DECARAVA (1919 - 2009) No Work Today. Color screenprint on wove paper, circa 1949. 349x257 mm; 13 3/4x10 1/8 inches, full margins. Signed in ink, lower left. A very good, dark impression of this scarce print. Provenance: acquired directly from the artist by Anne Kurakin, his second wife.

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ROY DECARAVA (1919 - 2009) Palma.

Lot 41: ROY DECARAVA (1919 - 2009) Palma.

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Description: ROY DECARAVA (1919 - 2009) Palma. Color screenprint on wove paper, 1947. 273x241mm; 10 3/4x9 1/2 inches, full margins. Signed and dated in black ink, lower left. Titled in pencil, lower left margin. Inscribed "F10" in black crayon, lower right margin. A superb impression of this rare print depicting the artist's first wife. Provenance: acquired directly from the artist by Anne Kurakin, the artist's second wife.

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ROY DECARAVA (1919 - 2009) Self-Portrait.

Lot 42: ROY DECARAVA (1919 - 2009) Self-Portrait.

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Description: ROY DECARAVA (1919 - 2009) Self-Portrait. Color screenprint on cream wove paper, circa 1949. 270x210 mm; 10 5/8x8 1/4 inches, full margins. A very dark, richly inked impression of this very scarce print. Provenance: acquired directly from the artist by Anne Kurakin, the artist's second wife.

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ROY DECARAVA (1919 - 2009) Nude.

Lot 43: ROY DECARAVA (1919 - 2009) Nude.

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Description: ROY DECARAVA (1919 - 2009) Nude. Color screenprint on reddish brown wove paper, circa 1949. 268x375 mm; 10 1/2x14 3/4 inches, full margins. A very good, bright impression of this scarce print. Provenance: acquired directly from the artist by Anne Kurakin, his second wife.

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CHARLES ALSTON (1907 - 1977) Untitled (Californian Landscape).

Lot 44: CHARLES ALSTON (1907 - 1977) Untitled (Californian Landscape).

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Description: CHARLES ALSTON (1907 - 1977) Untitled (Californian Landscape). Gouache, watercolor and pencil on wove paper, circa 1948. 305x457 mm; 12x18 inches. Signed in pencil, lower right. Provenance: estate of the artist; thence by descent to the current owner. Charles Alston and his friend Hale Woodruff did many landscape studies and sketches during an exploratory trip to California in 1948. Both artists were preparing for the pair of large historical murals they would complete the following year for Los Angeles' Golden State Mutual Life Insurance Company.

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HALE WOODRUFF (1900 - 1980) Californian Hills.

Lot 45: HALE WOODRUFF (1900 - 1980) Californian Hills.

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Description: HALE WOODRUFF (1900 - 1980) Californian Hills. Oil on linen canvas, circa 1948. 407x508 mm; 16x20 inches. Signed in oil, lower right recto. Titled in ink on the upper stretcher bar, verso. Provenance: private New York collection. This modern, lush landscape is a scarce example of paintings from the artist's Mexican and Western travels in the 1940s. In the summer of 1938, Woodruff traveled to Cuernavaca and Taxco, Mexico to study Mexican art, particularly to see the revolutionary murals there. Woodruff also had the rare chance to assist Diego Rivera, with whom he helped prepare paint for panels for the ballroom in the Hotel Reforma in Mexico City. Woodruff painted oil and watercolor landscapes of Mexican scenes similar to this painting, returning to the genre that he had developed in France and Georgia. His later mural painting for the Golden State Mutual Life Insurance Company in 1948 also incorporated the California landscape into a history of African Americans in the state. Woodruff and Charles Alston painted the panels in New York, but they made preparatory paintings and sketches of California scenery to give authenticity to the backgrounds for the panaromic scenes.

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NORMAN LEWIS (1909 - 1979) Untitled (Vertical Abstraction).

Lot 46: NORMAN LEWIS (1909 - 1979) Untitled (Vertical Abstraction).

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Description: NORMAN LEWIS (1909 - 1979) Untitled (Vertical Abstraction). Oil and graphite on linen canvas, circa 1952. 1244x457 mm; 49x18 inches. Signed in oil, lower left. Provenance: acquired directly from the artist, private collection, New York; thence by descent to the current owner. This untitled oil painting is a fascinating early work by Norman Lewis which combines his interest in vertical compositions with a direct, abstract expressionist approach. This painting shares the vertical convergence of urban forms found in his other early paintings such as City Night, 1949, and Metropolis, 1952. The drawing is an integral part of the painting--not just an underlying element, but interwoven within the structure of the composition. It also displays the same snowy atmospheric effects of white paint on raw linen found in his later Harlem Turns White, 1955.

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

Lot 47: NORMAN LEWIS (1909 - 1979) Untitled (Abstract Composition).

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Description: NORMAN LEWIS (1909 - 1979) Untitled (Abstract Composition). Brush and ink on cream laid paper, circa 1953-55. 485x650 mm; 19x25 1/2 inches. Signed in pencil, lower right. Provenance: private New York collection.

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NORMAN LEWIS (1909 - 1979) Untitled (Green and Brown Abstraction).

Lot 48: NORMAN LEWIS (1909 - 1979) Untitled (Green and Brown Abstraction).

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Description: NORMAN LEWIS (1909 - 1979) Untitled (Green and Brown Abstraction). Watercolor, gouache and ink, 1955. 483x533 mm; 19x21 inches, full margins. Signed and dated in pencil, lower right. Provenance: acquired directly from the artist; Oral Lovell, Wellesley, MA; thence by descent to the current owner.

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NORMAN LEWIS (1909 - 1979) Helios.

Lot 49: NORMAN LEWIS (1909 - 1979) Helios.

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Description: NORMAN LEWIS (1909 - 1979) Helios. Oil on linen canvas, 1952. 330x762 mm; 13x30 inches. Signed and dated in oil, lower right. Titled in pencil, upper stretcher bar. Provenance: acquired directly from the artist, private collection, New York; thence by descent to the current owner.

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MERTON SIMPSON (1928 -    ) Sea Story #3.

Lot 50: MERTON SIMPSON (1928 - ) Sea Story #3.

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Description: MERTON SIMPSON (1928 - ) Sea Story #3. Oil on linen canvas, circa 1955-56. 584x762 mm; 23x30 inches. Signed in oil, lower right. Provenance: acquired directly from the artist; thence by descent to a private collection. Exhibited: John Heller Gallery, New York; Annual State Exhibition, Carolina Art Association, April 1956, with the labels on the verso. Sea Story #3 is an excellent and 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.

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