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SHADOWS UPLIFTED: AFRICAN-AMERICAN FINE ART

by Swann Auction Galleries

Platinum House

82 lots with images

February 13, 2014

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

82 Lots
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AUGUSTUS WASHINGTON (1820 - 1875) Unidentified Man with Child.

Lot 1: AUGUSTUS WASHINGTON (1820 - 1875) Unidentified Man with Child.

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Description: AUGUSTUS WASHINGTON (1820 - 1875) Unidentified Man with Child. Sixth-plate daguerreotype in original leather case, circa 1846-47. With the silk pad, ink stamped "Washington Gallery. Hartford CT." Two daguerreotypes by Augustus Washington can be found in the Library of Congress, and a daguerreotype Washington created of abolitionist John Brown, is in the collection of the Smithsonian Institution's National Portrait Gallery. The interior stamp dates this work to 1847 or before, as in 1847 Washington moved his Hartford gallery from its original "9 Waverly building" location to its new address at 136 Main Street. His stamp following this move included the new address. Augustus Washington is one of the few African-American daguerreotypists whose work has been identified and whose career has been documented. The son of a former slave, Washington was born in Trenton, New Jersey. As a youth, he embraced the abolitionist movement and struggled to obtain an education, studying at both the Oneida Institute and Kimball Union Academy before entering Dartmouth College in 1843. After only one year, he had to leave Dartmouth because of increasing debt and moved to Hartford, Connecticut in 1844. Two years later, he opened one of Hartford's first daguerrean galleries. Offering portraits ranging in price from $.50 to $10, Washington attracted a broad clientele, and by the early 1850s was regarded as one of the city's foremost daguerreotypists. But despite his success, Washington worried about the future. Convinced that emancipation alone would not remove the barriers that American society imposed upon its black citizens, he came to regard resettlement in Liberia as the best course of action. Accompanied by his wife and two small children, Washington sailed for Liberia in November 1853. Washington opened a daguerrean studio in the capital Monrovia and also traveled to the neighboring countries of Sierra Leone, Gambia and Senegal. He later gave up his photographic work and became a sugarcane grower and politician, serving in both the House of Representatives and the Senate. He died in Monrovia in 1875.

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EDWARD M. BANNISTER (1828 - 1901) Untitled (Landscape with Woman Seated by a Stone Wall).

Lot 2: EDWARD M. BANNISTER (1828 - 1901) Untitled (Landscape with Woman Seated by a Stone Wall).

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Description: EDWARD M. BANNISTER (1828 - 1901) Untitled (Landscape with Woman Seated by a Stone Wall). Oil on linen canvas, 1881. 406x560 mm; 16x22 inches. Signed and dated in oil, lower right. Provenance: private Rhode Island collection; private California collection. With the label of the art supply company, A. A. Walker and Co., Boston, on the original stretcher bars. An impressive mid- to late career Bannister painting, this large study of foliage and shadows includes the unusual feature of what appears to be a female figure. The seated woman with a striking red ribbon on her hat is perhaps one of Bannister's students who had joined him on the painting outing - she appears to holding a pad or board.

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

Lot 3: 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 burlap linen canvas. 1886. 305x406 mm; 12x16 inches. Signed and dated in oil, lower right. Provenance: private Rhode Island collection. This later Bannister landscape is an energetic depicition of a pastoral path. Its impastoed brush strokes, tonal colors and off-center composition show the growing influence of the Impressionism upon his subject matter. In 1886, Bannister wrote his influential esssay The Artist and His Critic for the Providence Art Club that "championed spirtual expression and poetic sentiment" and lauded his mentor Jean François Millet. Rodgers p. 12.

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CHARLES ETHAN PORTER (1847 - 1923) Still Life with Roses.

Lot 4: CHARLES ETHAN PORTER (1847 - 1923) Still Life with Roses.

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Description: CHARLES ETHAN PORTER (1847 - 1923) Still Life with Roses. Oil on linen canvas, circa 1885-87. 254x404 mm; 10x16 inches. Signed in oil, lower right. Provenance: private New York collection. Porter's elegant floral still life is a distinctive arrangement on a marble ledge. The elaborate and off center composition is an unusual one for the artist. Porter's focused realism and his use of flowers, holly and other greens found in nature are signs of his post-Paris period.

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CHARLES ETHAN PORTER (1847 - 1923) Floral Composition.

Lot 5: CHARLES ETHAN PORTER (1847 - 1923) Floral Composition.

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Description: CHARLES ETHAN PORTER (1847 - 1923) Floral Composition. Oil on linen canvas, circa 1885-90. 254x508 mm; 10x20 inches. Signed in oil, lower right. Provenance: private New York collection. This romantic still life has an evocative, almost accidental arrangement of strewn blossoms or flowers. Characteristic of Porter's post-Paris period, the fluid, soft brushwork of the flower petals are typical of his late paintings.

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EDWARD M. BANNISTER (1828 - 1901) Untitled (Landscape, Trees by Water).

Lot 6: EDWARD M. BANNISTER (1828 - 1901) Untitled (Landscape, Trees by Water).

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Description: EDWARD M. BANNISTER (1828 - 1901) Untitled (Landscape, Trees by Water). Watercolor with graphite on textured, wove paper, 1898. 318x451 mm; 12 1/2x17 3/4 inches. Signed and dated in watercolor, lower right. Provenance: private Rhode Island collection; thence by descent to the current owner. This bright landscape is a very fine, large example of Bannister's watercolors. This Barbizon composition, with a copse of trees and a body of water, is very reminiscent of Landscape With Cow and Figure, circa 1881, included in the 2001 exhibition Edward M. Bannister: A Centennial Retrospective at Roger King Gallery and Kenkeleba House.

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EDWARD M. BANNISTER (1828 - 1901) Untitled (Figure on a Path).

Lot 7: EDWARD M. BANNISTER (1828 - 1901) Untitled (Figure on a Path).

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Description: EDWARD M. BANNISTER (1828 - 1901) Untitled (Figure on a Path). Watercolor, with gouache and pencil, on thin wove paper, circa 1895-1900. 127x178 mm; 5x7 inches. Initialed in watercolor, lower left. Provenance: private Rhode Island collection. Bannister uses an Impressionist palettte of pinks and blues in this charming, late period watercolor.

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PAULINE POWELL BURNS (1876 - 1912) Violets.

Lot 8: PAULINE POWELL BURNS (1876 - 1912) Violets.

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Description: PAULINE POWELL BURNS (1876 - 1912) Violets. Oil on thin cardstock, circa 1890. Approximately 216x317 mm; 8 1/2x12 1/2 inches. Provenance: gift of Mrs. Elbert (Ann) Powell, Oakland, CA, to a private collection (1972); thence by descent to the current owner. With the provenance inscribed in ink on the verso. Violets is not only beautiful but is extremely scarce. It is the only example that we have located by an artist who was described as the first African-American painter to exhibit in California. Pauline Powell Burns, whose grandmother was a slave at Monticello, was born and raised in Oakland. She became known as both an accomplished painter, and a talented classical pianist who gave public recitals. Powell was described by James A. Porter in his Modern Negro Art as "a gifted woman artist at work in 1890...born in Oakland, June 27, 1876 and reared in a community that afforded her many advantages of education and environment. M. A. Majors in his Noted Negro Women reports that she produced very fine paintings, some which were exhibited in Oakland in 1890, and were the first works to be shown by a Negro artist in California." Porter p. 68.

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JAMES BOLIVAR NEEDHAM (1850 - 1931) Untitled (Sailboat on Chicago Waterfront).

Lot 9: JAMES BOLIVAR NEEDHAM (1850 - 1931) Untitled (Sailboat on Chicago Waterfront).

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Description: JAMES BOLIVAR NEEDHAM (1850 - 1931) Untitled (Sailboat on Chicago Waterfront). Oil on linen canvas, mounted on wood panel, 1900. 229x216 mm; 9x8 1/2 inches. Signed in oil, lower right recto. Inscribed within a diamond "8 1/2x9 inches" and "1900" and dated "July 4" in orange paint, verso. Provenance: private Maine collection, acquired at a recent estate auction. Early Chicago artist James Bolivar Needham is known for these small paintings of the city's lakeside docks. Needham was born in Chatham, Ontario, Canada, a terminus point of the Underground Railroad. He left at the age of 14 and worked his way to Chicago on lumber schooners, via Lake Huron and Lake Michigan. His brother Will Needham recalled that he spent some time at the Chicago Art Institute - yet there are no records to support this claim. Needham has only had one documented exhibition - in a Central Art Association show in 1895. He worked in obscurity throughout his lifetime. A retrospective was held at Robert Henry Adams Fine Art, Chicago, February 28 - March 20, 1998, and several of his paintings included in the 2004 exhibition Chicago Modern 1893 - 1945 at the Terra Museum of American Art, Chicago. Schulman p. 132-34.

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LENWOOD H. MORRIS Untitled (Woman Seated on a Park Bench, with Baby Carriage).

Lot 10: LENWOOD H. MORRIS Untitled (Woman Seated on a Park Bench, with Baby Carriage).

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Description: LENWOOD H. MORRIS Untitled (Woman Seated on a Park Bench, with Baby Carriage). Oil on wood panel, circa 1905-10. 133x102 mm; 5 1/4x4 inches. Signed in pencil, verso. With a painted study of a seated figure, verso. Lenwood Morris was a student at the Philadelphia Academy of Fine Arts with other African-American artists such as Laura Wheeler Waring and Julian Abele in the early 1900s. His watercolor Woman with Parasol, 1908, is in the Academy's permanent collection. Along with Richard Brown, he also built and decorated parts of the set of the 1916 Philadelphia production of W.E.B. Dubois' historical pageant, Star of Ethiopia. His 1915-18 oil portrait of the important African-American philosopher, Alain Locke, is in the collection of the Howard University Art Gallery. Morris later exhibited with the Harmon Foundation in the 1930s. Locke described him as one of the "Negro Modernists," who, because he died relatively early, was a "swallow before the proper spring" and a "painter of what for that time were unusually advanced styles of landscape and strong, high key portrait studies." Powell p. 71.

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HENRY OSSAWA TANNER (1859 - 1937) Untitled (View of the Seine).

Lot 11: HENRY OSSAWA TANNER (1859 - 1937) Untitled (View of the Seine).

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Description: HENRY OSSAWA TANNER (1859 - 1937) Untitled (View of the Seine). Oil on plywood, circa 1900. 115x165 mm; 4 5/8x6 1/2 inches. Signed in oil, lower left. Provenance: private New York collection. This small painting of the bustling banks of the Seine is not only a charming view of Paris but a scarce example of Tanner's painting en plein air in Paris. The dome in this painting apperars to be a view of Les Invalides, of which Tanner made a larger oil painting in 1896, now in the Terra Foundation collection, Chicago.

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HENRY OSSAWA TANNER (1859 - 1937) Fishing Boats at Shore, Brittany.

Lot 12: HENRY OSSAWA TANNER (1859 - 1937) Fishing Boats at Shore, Brittany.

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Description: HENRY OSSAWA TANNER (1859 - 1937) Fishing Boats at Shore, Brittany. Etching on wove paper, circa 1905-1915. 149x200 mm; 5 7/8x7 7/8 inches, full margins. Signed by the artist's son, Jesse O. Tanner, and numbered 19/120 in ink, verso. With the artist's estate ink stamp, verso.

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HENRY OSSAWA TANNER (1859 - 1937) Gate in Tangier.

Lot 13: HENRY OSSAWA TANNER (1859 - 1937) Gate in Tangier.

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Description: HENRY OSSAWA TANNER (1859 - 1937) Gate in Tangier. Etching on wove paper, circa 1905-1915. 238x181mm; 9 3/8x7 1/8 inches, full margins. Signed by the artist's son, Jesse O. Tanner, and numbered 70/120 in ink, verso. With the artist's estate ink stamp, verso.

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HENRY OSSAWA TANNER (1859 - 1937) Study for Disciples Healing the Sick.

Lot 14: HENRY OSSAWA TANNER (1859 - 1937) Study for Disciples Healing the Sick.

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Description: HENRY OSSAWA TANNER (1859 - 1937) Study for Disciples Healing the Sick. Oil on thin plywood panel, circa 1930. 267x350 mm; 10 1/2x13 3/4 inches. With the artist's estate ink stamp, and signed by the artist's son Jesse O. Tanner, verso. Also with the artist's estate ink stamp, signed by the artist's son Jesse O. Tanner and stamped "No. 13" in blue ink on the backing paper. Provenance: the estate of the artist, France; Cordier & Ekstrom Gallery, New York, with the gallery label; private New York collection. The backing paper also has an inventory label of "Pitt & Scott, Ltd., Paris, London, New York, the International Movers" and dated 5/5/69 in ink. This wonderfully modern and painterly oil is an excellent example of Tanner's late studies for his Biblical scenes. As preliminary works, Tanner experimented in palette, medium and composition in these small scale paintings. His broad brushstrokes and unconventional palette reveal the underlying modernity of his approach to these traditional subjects. There is another oil on wood panel of the same subject in the collection of the Smithsonian American Art Museum, Washington, DC, entitled He Healed the Sick that is larger (16 1/4x21 1/2 inches) and more resolved. These studies were made in preparation for the much larger painting, Disciples Healing the Sick, circa 1930, 36x48 inches, in the collection of the Clark Atlanta University Art Galleries. According to the Smithsonian, while there are many stories in the Bible in which Christ performs miraculous healings, none quite match this particular scene. Tanner also created this painting after he had recovered from a serious illness, which suggests that the subject had personal meaning for him. Marley p. 250.

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ALBERT ALEXANDER SMITH (1896 - 1940) Au Bout du Marché (Nice, France).

Lot 15: ALBERT ALEXANDER SMITH (1896 - 1940) Au Bout du Marché (Nice, France).

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Description: ALBERT ALEXANDER SMITH (1896 - 1940) Au Bout du Marché (Nice, France). Etching on cream wove paper, circa 1920s. 197x130mm; 7 3/4x5 1/8 inches, full margins. Signed, titled and numbered 3/75 in ink, lower margin.

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WILLIAM A. HARPER (1873 - 1910) Untitled (French Pasture with Trees).

Lot 16: WILLIAM A. HARPER (1873 - 1910) Untitled (French Pasture with Trees).

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Description: WILLIAM A. HARPER (1873 - 1910) Untitled (French Pasture with Trees). Oil on thick cardstock, circa 1907-08. 305x394 mm; 12x15 1/2 inches. Signed in oil, lower left. Provenance: private collection, Chicago. William A. Harper likely painted this beautiful landscape on his second trip to Paris when he studied with Henry Ossawa Tanner. Like Bannister and Needham, William Harper was also born in Canada. His family moved from Cayuga to Illinois in 1885, and Harper attended the Art Institute of Chicago from 1895-1901, working as a night watchman and janitor to pay for his tuition. He studied in Paris first from 1903-1905 at the Académie Julian. In 1905, the talented Harper earned the Municipal Art League's blue ribbon at the Art Institute of Chicago for nine of his paintings. 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. His paintings are found today in the collections of Tuskegee University and Dr. Walter O. Evans. Barnwell p. 157; Kennedy p. 119.

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WILLIAM EDOUARD SCOTT (1884 - 1964) Untitled (Arab Market Scene).

Lot 17: WILLIAM EDOUARD SCOTT (1884 - 1964) Untitled (Arab Market Scene).

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Description: WILLIAM EDOUARD SCOTT (1884 - 1964) Untitled (Arab Market Scene). Oil triptych on board, circa 1912-20. Approximately 560x1067 mm; 22x42 inches total; 22x17 7/8 inches (center panel) and 20x11 inches (left and right panels.) Signed in oil, lower right (right panel). Provenance: private New York collection. William Edouard Scott's fascinating painting of a Holy Land or North African scene is the first of its kind to come to auction. Scott was born in Indianapolis, and trained at the Art Institute of Chicago from 1904-09. In Chicago, he became known for his work in mural painting but his celebrated Haitian series of paintings have overshadowed this earlier period of work. After winning several painting scholarships and awards at the Institute, Scott traveled to Paris, where he studied with Henry Ossawa Tanner and enrolled at the Académie Julian. When he returned in 1912, Scott received many mural commissions, including for the Chicago World's Fair of 1933 and the Federal Art Project of the WPA in Chicago. But the American subjects of his WPA murals like the Wabash YMCA are very different. This painting shows the apparent influence of both his teacher Tanner and the French popular interest in Orientalism that Scott encountered in Paris. The Impressionist brush work, size and scale of the figures and the support also help date the painting to this early phase of his career. Reynolds/Wright p. 255.

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JAMES VANDERZEE (1886 - 1983) The VanDerZee Men.

Lot 18: JAMES VANDERZEE (1886 - 1983) The VanDerZee Men.

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Description: JAMES VANDERZEE (1886 - 1983) The VanDerZee Men. Silver print, 1908. 241x184 mm; 9 1/2x7 1/4 inches. Signed and numbered III and 41/75 in pencil on the mount. Printed by Richard Benson, New York. Published by Graphics International Ltd., Washington, DC in 1974. From Eighteen Photographs. In this portrait, the artist is on the far left with his father and two brothers.

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JAMES VANDERZEE (1886 - 1983) Untitled (Young Man at Home of Josephine Becton).

Lot 19: JAMES VANDERZEE (1886 - 1983) Untitled (Young Man at Home of Josephine Becton).

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Description: JAMES VANDERZEE (1886 - 1983) Untitled (Young Man at Home of Josephine Becton). Silver print, 1934. 251x200 mm; 9 7/8x7 7/8 inches, full margins. Signed and inscribed "NYC 1934" by VanDerZee in the negative. With VanDerZee's "GGG Photo Studio" ink hand stamp on verso. VanDerZee often staged different sitters in the same setting for series of photographs. This photograph of a young boy at a piano, with Valentine's Day chocolates directly in front of him, recalls the same image as At Home, Josephine Becton, with only the ottoman shifting position.

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MALVIN GRAY JOHNSON (1896 - 1934) Along the Harlem River.

Lot 20: MALVIN GRAY JOHNSON (1896 - 1934) Along the Harlem River.

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Description: MALVIN GRAY JOHNSON (1896 - 1934) Along the Harlem River. Oil on canvas board, 1925. 305x406 mm; 12x16 inches. Signed in oil, lower right. Provenance: private New York collection. Exhibited: The Ninth Annual Exhibition of the Society of Independent Artists, New York, NY, March 6 - 29, 1925, with entry label pinned to the frame back, signed and inscribed "202 W. 140th St." (the artist's home address) in ink. Illustrated: The Society of Independent Artists, 1925. Of the two paintings, Along the Harlem River and High Bridge, entered by Malvin Gray Johnson, this was the one chosen to be illustrated. Along the Harlem River is a great re-discovery of one of Malvin Gray Johnson's modernist landscapes. Its location was not known at the time of his 2002 North Carolina Central University Art Museum retrospective. This painting shows the growth of modernism in African-American visual art by the mid-1920s. This is also only his second painting to come to auction. Largely due to his sudden death at the age of 38, his 1920s works are extremely scarce--the retrospective located only two out of 60 paintings and drawings. Malvin Gray Johnson painted Along the Harlem River while completing his studies at the National Academy of Art and Design where he studied with Leon Kroll, George Lawrence Nelson, and Ivan Olinsky. In 1925, Johnson was able to find employment that allowed him to take day painting classes with Francis C. Jones and Charles C. Curran. Jacquelyn Francis connects this early Harlem landscape with a similar work by his contemporary Aaron Douglas. Francis writes how this "unlocated" but reproduced painting and Douglas's Power Plant in Harlem, in the collection of the Hampton University Art Museum, both display the Ashcan School influence in their industrial subjects. Johnson's instructor Leon Kroll was also known for "his muscular depictions of industrial New York." This small but bold landscape was painted four years before his iconic work Swing Low, Sweet Chariot, but in many ways is more modern. Relying on just the small black and white catalogue photograph (see illustration), Francis sees his approach "akin to figurally abstract landscapes of the 1930s such as those of Arthur Dove, Marsden Hartley and William H. Johnson." Swing Low, Sweet Chariot launched his career, and placed him alongside Aaron Douglas and Henry Ossawa Tanner as one of the great African-American painters at that time. But this Harlem landscape establishes that Malvin Gray Johnson was already a modern innovator in 1925. Rodgers pp. 20, 54-55. WITH--A copy of the The Ninth Annual Exhibition of the Society of Independent Artists catalogue is included.

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DOX THRASH (1893 - 1965) Nude Dancer.

Lot 21: DOX THRASH (1893 - 1965) Nude Dancer.

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Description: DOX THRASH (1893 - 1965) Nude Dancer. Watercolor and pencil on thin wove paper, laid down on cream wove paper, circa 1930. 298x229mm; 11 3/4x9 inches. Provenance: Sam and Sally Nowak Collection; thence by descent to their son, Allan Nowak; private collection, Philadelphia; private collection, Philadelphia.

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CHARLES ALSTON (1907 - 1977) Untitled (Man with Grim Reaper).

Lot 22: CHARLES ALSTON (1907 - 1977) Untitled (Man with Grim Reaper).

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Description: CHARLES ALSTON (1907 - 1977) Untitled (Man with Grim Reaper). Pencil and crayon on tissue-thin vellum, laid down on board, circa 1930. 406x318 mm; 16x12 1/2 inches. Signed in pencil, lower right. Provenance: private collection. During the Harlem Renaissance, new artistic opportunities arose for African-American artists, who were able to get commissions for illustrated works and graphic design. Charles Alston drew this at a time when he was able to earn a living as an illustrator. In the 1930s and 1940s, he created illustrations for magazines such as Fortune and The New Yorker, as well as illustrated an album cover for Duke Ellington, and a book cover for Langston Hughes. By 1940, he was a staff artist at the Office of War Information and Public Relations.

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MORGAN SPARKS SMITH (1910 - 1993) Portrait of Marvin Smith.

Lot 23: MORGAN SPARKS SMITH (1910 - 1993) Portrait of Marvin Smith.

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Description: MORGAN SPARKS SMITH (1910 - 1993) Portrait of Marvin Smith. Charcoal on thin laid paper, 1934. 83x635mm; 19x25 inches. Signed and dated in pencil, lower right. Provenance: Camille Billops, New York; private collection, New York. Better known as photographers of life in Harlem during the 1930s-50s, this is a scarce example of a drawing done by one of the Smith twins, Morgan Smith, of his brother Marvin. The sons of sharecroppers, Morgan and Marvin Smith were born in Nicholasville, KY., on Feb. 16, 1910. When the twins were teenagers, the family moved to Lexington, where they became the first in their family to graduate from high school. Both had a broad interest in the arts and, in addition to photography, were highly skilled in painting, sculpture, and drawing. Due to a lack of opportunities in Kentucky, they moved to New York when they were 23. In Harlem, they took art classes taught by the sculptor Augusta Savage at her studio on 126th Street. In Harlem, they found a flourishing arts community and quickly established their place as visual reporters of the life of the city. For thirty years, the Smiths used their cameras to record the achievements of blacks in the face of discrimination and poverty,the significant social movements of their day, as well as the everyday life of Harlem. The Smiths' photography and art studio--M. Smith studios--was next to the famed Apollo Theatre, and it became a required stop for anyone making a pilgrimage to the community. There the Smiths photographed actors, musicians, dancers, artists, athletes, politicians, businessmen, and educators including Maya Angelou, W.E.B. Dubois, Joe Louis, Josephine Baker, and Nat King Cole among countless others. This is the first work by either brother to come to auction.

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VIVIAN SCHUYLER KEY (1905 - 1990) Portrait of Mother Jessie Schuyler.

Lot 24: VIVIAN SCHUYLER KEY (1905 - 1990) Portrait of Mother Jessie Schuyler.

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Description: VIVIAN SCHUYLER KEY (1905 - 1990) Portrait of Mother Jessie Schuyler. Watercolor on cream illustration board, 1927. 324x291 mm; 12 3/4x11 1/2 inches. Signed in watercolor, and inscribed "Same old window, window where my mother would sit a-dreaming Little old green wooden chair-scheming-always scheming" in gouache, lower margin. Provenance: the artist; thence by descent to the current owner. Exhibited: Vivian Schuyler Key: Artist of the Harlem Renaissance and Beyond, the Hammonds House Museum, Atlanta, June 24 - August 26, 2012. Born in New York in 1905, Vivian Schuyler Key was the first African-American female to pursue a degree in art at Pratt Institute, graduating in 1923. She worked primarily in New York, and designed several covers for Crisis magazine, the publication of the N.A.A.C.P. Her artwork is known for exploring the African-American experience, usually focused on subjects who possessed a quiet, everyday strength. Schuyler's work was included in Forever Free: Art by African American Women, 1862-1980, organized by Illinois State University, and this particular work was included in the artist's solo exhibition, Vivian Schuyler Key: Artist of the Harlem Renaissance and Beyond, at the Hammonds House Museum in conjunction with the 2012 National Black Arts Festival, Atlanta, Georgia. This watercolor is the first work of the artist to come to auction.

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NANCY ELIZABETH PROPHET (1890 - 1960) Untitled (Head).

Lot 25: NANCY ELIZABETH PROPHET (1890 - 1960) Untitled (Head).

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Description: NANCY ELIZABETH PROPHET (1890 - 1960) Untitled (Head). Stained and oiled wood, circa early 1930s. Approximately 318x165x178 mm; 12 1/2x6 1/2x7 inches. With an incised signature, behind the right ear. With a supplied wood base. Provenance: acquired at a Providence, RI estate sale (late 1960s); private Massachusetts collection. This enigmatic and imposing head is an exciting discovery, and the first known sculpture by Nancy Elizabeth Prophet to come to auction. The most recent exhibition and monograph on the artist, Spelman College's 2007 Hale Woodruff, Nancy Elizabeth Prophet and the Academy located only two wood pieces in private collections, and a dozen sculptures in the collections of the Museum of Art, Rhode Island School of Design, the Whitney Museum of American Art, and the James P. Adams Library of the Rhode Island College. A poylchromed wood panel Untitled (Facing the Light) also is in the collection of the Rhode Island Black Heritage Society. Prophet was a talented young sculptor who had a career in Paris as an expatriate artist for over twelve years, and was accepted into the French Salon. A graduate of the Rhode Island School of Design in 1918, she was unhappy in marriage and with her career prospects painting portraits in Providence - she "fled" to Paris in 1922 by herself. Despite often moving and struggling to make ends meet, her work in wood and marble was accepted into the Salon d'Automne, Sociéte des Artistes Français in Paris. She also had success exhibiting back in the US including at the Harmon Foundation and Fifty-Sixth Street Galleries, New York, and had been introduced to Henry Ossawa Tanner and Augusta Savage by W.E.B. Dubois. But with the onset of the Depression, she could not pass up on the opportunity of a teaching position to join Hale Woodruff at Spelman College in 1934. This androgynous head is most similar in its material, and simplified, polished features to Prophet's polychromewood Discontent, circa 1929. Instead of a skull cap, Discontent is cloaked in a cowl but shares the distinctive Roman nose and features of this untitled head. The artist carved Discontent before 1930 while in Paris, and according to Theresa Leininger-Miller, Countee Cullen described it as "a face Dantesque in its tragedy". Like many of Prophet's sculptures, this head shares a similarity with the artist's own face with drawn features and high cheekbones. The eyes also contribute to the overall look of serenity and sadness - there is an emptiness without an indication of pupils. Amaki pp. 46-47; Leininger-Miller p. 16-17, 24.

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ALLAN ROHAN CRITE (1910 - 2007) Untitled (Female Nude Study).

Lot 26: ALLAN ROHAN CRITE (1910 - 2007) Untitled (Female Nude Study).

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Description: ALLAN ROHAN CRITE (1910 - 2007) Untitled (Female Nude Study). Pencil on cream wove paper, 1933. 457x305mm; 18x12 inches. Signed, initialed, and dated in pencil, lower left. Provenance: William Greenbaum Fine Prints, Rockport, MA; private collection, NY.

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JAMES A. PORTER (1905 - 1970) Bronze Figure.

Lot 27: JAMES A. PORTER (1905 - 1970) Bronze Figure.

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Description: JAMES A. PORTER (1905 - 1970) Bronze Figure. Color pastel and charcoal on tan wove paper, circa 1931. 559x711 mm; 22x28 inches. Signed in charcoal, lower right. Provenance: the artist; Dorthy Porter Walker; Constance Porter Uzelac, thence by descent to the current owner. Exhibited: American Water Color Society, Fine Arts Building, New York City, 1931; Exhibit of a Small Group of Paintings, Howard University, February 1932; 13th Annual Philadelphia Water Color Exhibition and the 31st Miniature Exhibition, Pennslyvania Academy of Fine Arts, November 5 - December 11, 1932; James A. Porter: Artist and Art Historian; The Memory of a Legacy, Howard University Gallery of Art, October 15, 1992-February 9, 1993, with label on the frame back listing exhibition history. Illustrated: Opportunity, 11:46 Fall 1933; James A. Porter, Artist and Art Historian: The Memory of the Legacy, Howard University, p. 133: James A. Porter, 1905 -1970, From Me to You: the Works of James A. Porter, G.R. N'Namdi Gallery, p. 108. This drawing is an early example of an academic African-American, female nude.

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JAMES A. PORTER (1905 - 1970) Self-Portrait.

Lot 28: JAMES A. PORTER (1905 - 1970) Self-Portrait.

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Description: JAMES A. PORTER (1905 - 1970) Self-Portrait. Oil on linen canvas, circa 1935. 355x305 mm; 14x12 inches. Provenance: the artist; Dorthy Porter Walker; Constance Porter Uzelac, thence by descent to the current owner. Exhibited: James A. Porter, Artist and Art Historian: The Memory of the Legacy, Howard University Gallery of Art, Washington DC, October 15, 1992 - January 8, 1993; James A. Porter, 1905 -1970, From Me to You: the Works of James A. Porter, G.R. N'Namdi Gallery, New York, NY, January 13 - March 31, 2006. Illustrated: Porter, James A., Modern Negro Art, Howard University Press, Washington, DC, 1992 edition, frontispiece; James A. Porter, Artist and Art Historian: The Memory of the Legacy, Howard University, p. 127: James A. Porter, 1905 -1970, From Me to You: the Works of James A. Porter, G.R. N'Namdi Gallery, p. 39. James A. Porter, artist, art historian, and head of the Howard University Art department, shows himself here as young artist at his easel. Porter widely exhibited his work in the 1930s - including at the Corcoran Gallery of Art, the Detroit Institute of Arts, the Museum of Modern Art, the Baltimore Museum, and the Harmon Foundation, New York. At the Harmon Foundation, his Woman Holding a Jug, 1930, reproduced on the cover of its 1933 exhibition catalogue, won the Schomburg portrait prize, and its popular and crtical acclaim brought Porter national recognition. After having graduated from Howard University in 1927, Porter established his career as an artist while teaching art at the University. This painting is dated to his first sabbatical year, when in 1935 he studied at New York University and the Sorbonne, University of Paris. That year he met Feral Benga in Brussels, and visited the studio of Henry Ossawa Tanner. Porter went on to complete and publish his seminal Modern Negro Art in 1943, one of the first comprehensive academic studies of African-American art. This image is one of the best known self-portraits by an African-American artist, and has been extensively exhibited and reproduced. This important painting is also the first portrait in oil on canvas by James A. Porter to come to auction.

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LOÏS MAILOU JONES (1905 - 1998) Still Life with Grapefruit.

Lot 29: LOÏS MAILOU JONES (1905 - 1998) Still Life with Grapefruit.

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Description: LOÏS MAILOU JONES (1905 - 1998) Still Life with Grapefruit. Oil on canvas board, 1928. 300x445 mm; 11 3/4x17 1/2 inches. Signed and dated "April '29" in oil, lower right. Provenance: collection of the artist; thence by descent to the Loïs Mailou Jones Pierre-Noël Trust. According to a notation on the frame backing, this bright still life is the artist's first oil painting, completed a year after she graduated with honors from the School of the Museum of Fine Arts, Boston. There, she studied textile design and painted in tempera and watercolor. In 1928, she finished graduate study at the Designers Art School of Boston. Later that year, she attended a summer session at Harvard University while working as a freelance textile designer for F.A. Foster Company. Jones did not begin a body of work in oil until joining the faculty of Howard University in 1930. Most of her early still lifes were made during her studies of Cezanne while at the Académie Julian in Paris--Cauliflower and Pumpkin, 1938, in the collection of the Metropolitan Museum of Art, New York, is from this early period. Benjamin p. 125; Messenger p. 21.

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LOÏS MAILOU JONES (1905 - 1998) Nude Study.

Lot 30: LOÏS MAILOU JONES (1905 - 1998) Nude Study.

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Description: LOÏS MAILOU JONES (1905 - 1998) Nude Study. Charcoal drawing on laid paper,1927. 635x343 mm; 25x13 1/2 inches. Signed and dated in pencil, lower right. Provenance: collection of the artist; thence by descent to the Loïs Mailou Jones Pierre-Noël Trust. Exhibited: Reflective Moments: Loïs Mailou Jones, 1930-1972, Museum of Fine Arts, Boston, March 11 - April 15, 1973; Against All Odds: African-American Artists and the Harmon Foundation, the Newark Museum, Newark, January 13 - April 15, 1990. With the labels on the frame back. Illustrated: Benjamin, Tritobia Hayes, The Life and Art of Loïs Mailou Jones, 1994, p. 70. This drawing was completed while Loïs Mailou Jones was a student at the School of the Museum of Fine Arts from 1923-1927. This drawing is a scarce example of her classical figure drawing, which was a staple of the fine arts curriculum, and is the earliest known drawing by Jones to come to auction.

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LOÏS MAILOU JONES (1905 - 1998) Nude, Paris (Etude).

Lot 31: LOÏS MAILOU JONES (1905 - 1998) Nude, Paris (Etude).

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Description: LOÏS MAILOU JONES (1905 - 1998) Nude, Paris (Etude). Oil on linen burlap canvas, 1938. 24x19 3/4 inches. Signed and inscribed "Paris and ©" in ink, lower left recto (faded). Signed in ink, verso. Also signed and titled "Etude" in ink, verso across the stretcher bars. Provenance: collection of the artist; thence by descent to the Loïs Mailou Jones Pierre-Noël Trust. Exhibited: Loïs Mailou Jones: A Life in Vibrant Color, Mint Museum, Charlotte, NC, November 14 - February 27, 2010. With the label on the frame back. Illustrated: Benjamin, Tritobia Hayes Benjamin, The Life and Art of Loïs Mailou Jones, p. 42; Hanzal, Carla M., Loïs Mailou Jones: A Life in Vibrant Color, p. 103. This beautiful study of a seated nude was made in Löis Mailou Jones's second year studying in Paris. Awarded a Howard University scholarship to study at the Académie Julian during 1937-38, she studied both landscape and portraiture. She met the Symbolist Émile Bernard, who encouraged and befriended the young artist. Her new academic training is evident in the tonal palette, controlled brushwork and simplified background in this painting. She returned to the United States, to teach at Howard University in the fall of 1938. This is the earliest nude oil painting by the artist to come to auction. Tritobia Hayes Benjamin, The Life and Art of Löis Mailou Jones, p. 29.

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LOÏS MAILOU JONES (1905 - 1998) Hurricane-Martha's Vineyard.

Lot 32: LOÏS MAILOU JONES (1905 - 1998) Hurricane-Martha's Vineyard.

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Description: LOÏS MAILOU JONES (1905 - 1998) Hurricane-Martha's Vineyard. Watercolor on wove paper, 1945. 298x445mm; 11 3/4x17 1/2inches. Signed and dated in ink, lower right, recto. Titled in pencil, verso. Provenance: collection of the artist; thence by descent to the Loïs Mailou Jones Pierre-Noël Trust.

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LOÏS MAILOU JONES (1905 - 1998) Marchande de Fleurs, Paris.

Lot 33: LOÏS MAILOU JONES (1905 - 1998) Marchande de Fleurs, Paris.

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Description: LOÏS MAILOU JONES (1905 - 1998) Marchande de Fleurs, Paris. Oil on masonite board, circa 1945-47. 190x242 mm; 7 1/2x9 1/2 inches. Signed and inscribed "Paris" in oil, lower right. Provenance: acquired directly from the artist, private collection, Washington, DC; thence by descent to the current owner. This bustling, charming Paris street scene is a lovely, early example of Loïs Mailou Jones painting, The density of the composition and the impastoed brush strokes indicate it was likely painted upon her return in 1945 or shortly following the end of the war.

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ALLAN FREELON (1895 - 1960) Mending Nets.

Lot 34: ALLAN FREELON (1895 - 1960) Mending Nets.

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Description: ALLAN FREELON (1895 - 1960) Mending Nets. Aquatint on cream wove paper, circa 1930s-40s. 229x305xmm; 9x12 inches, full margins. Signed, titled and inscribed "imp" in pencil, lower margin. Provenance: from the estate of the artist; private collection, Wisconsin.

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ALLAN FREELON (1895 - 1960) Carolling Night.

Lot 35: ALLAN FREELON (1895 - 1960) Carolling Night.

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Description: ALLAN FREELON (1895 - 1960) Carolling Night. Charcoal on tissue-thin, cream vellum paper, 1935. 304x260mm; 12x10 1/4 inches. Signed, titled, dated, and inscribed "To Mrs. Ada Liveright 25/12/36" in pencil, lower margin. After serving in WWI, Allan Freelon began teaching in Philadelphia public schools, becoming supervisor of art instruction for the entire school district. During the school district's summer breaks, Freelon traveled to Gloucester, Massachusetts, where he pursued his interest in landscape painting. He studied there with Emile Gruppe at the Gloucester School of Painting, who emphasized sound drawing and bold use of colors. In this drawing, Freelon depicts a reoccurring image seen in his work, Our Lady of Good Voyage, a church built for the Portuguese community in Gloucester by the Roman Catholic Church. The church is very recognizable with its symmetrical bell towers and statue of Our Lady of Good Voyage, who holds a boat in her left hand as a symbol of a safe voyage. Another image of the church by Freelon, the painting Our Lady of Good Voyage, was shown in the 2004 exhibition, Allan Freelon: Pioneer African American Impressionist held at the North Carolina Central University Art Museum.

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DOX THRASH (1893 - 1965) Wandering Boy.

Lot 36: DOX THRASH (1893 - 1965) Wandering Boy.

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Description: DOX THRASH (1893 - 1965) Wandering Boy. Watercolor on wove paper, circa 1940s. 406x305 mm; 16x12 inches. Signed in watercolor, lower right. Provenance: acquired directly from the artist, Emmanuel and Florence Walker, New York; Robert Walker; private California collection. With a signed letter of provenance.

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DOX THRASH (1892 - 1965) Intermission.

Lot 37: DOX THRASH (1892 - 1965) Intermission.

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Description: DOX THRASH (1892 - 1965) Intermission. Etching on cream wove paper, circa 1937-38. 229x152mm; 9x6 inches, full margins with the tack holes. Signed, titled, and numbered 1/12 in pencil, lower margin. Provenance: private collection, Philadelphia, PA. This very scarce print is apparently from an earlier edition than the one described in Ittmann as it is printed before aquatint. Ittmann 54.

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CLAUDE CLARK (1915 - 2001) Time Out.

Lot 38: CLAUDE CLARK (1915 - 2001) Time Out.

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Description: CLAUDE CLARK (1915 - 2001) Time Out. Etching on cream wove paper, 1939-40. 229x302 mm; 9x11 7/8 inches, full margins. Signed and titled in pencil, lower margin. Another impression of this print is in the Free Library of Philadelphia, Print and Picture Department.

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DOX THRASH (1892 - 1965) Shipfitters.

Lot 39: DOX THRASH (1892 - 1965) Shipfitters.

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Description: DOX THRASH (1892 - 1965) Shipfitters. Aquatint on cream wove paper, circa 1941. 265x190 mm; 10 1/2x7 1/2 inches, wide (full?) margins. Signed and titled in pencil, lower margin. We have found only three other impressions of this print - in the collections of the Philadelphia Museum of Art, the Free Library of Philadelphia and the Illinois State Museum of Art, Springfield, IL. This scarce WPA-era print with inky plate edges is a great example of the artist's skill with aquatint. Ittmann describes this print as "a beautiful study of light glinting off the geometrical shapes and patterns of the industrial workplace, with diminutive workers in the foreground." There is another known version of this print - a drypoint proof with just the lines of the docks and with no figures. Ittmann 65.

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HALE WOODRUFF (1900 - 1980) Portrait of a Girl.

Lot 40: HALE WOODRUFF (1900 - 1980) Portrait of a Girl.

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Description: HALE WOODRUFF (1900 - 1980) Portrait of a Girl. Oil on masonite board, circa 1935-40. 273x216 mm; 10 3/4x8 1/2 inches. Signed in oil, lower right. Provenance: Harold Hart, New York; the estate of Harold Hart; thence by descent to C. Arnold Hart; the estate of C. Arnold Hart. This early study is one of only a handful of paintings by Woodruff that have come to auction with an African-American subject. The limited, dark palette and simplified forms link this work to the period shortly after his return from France. Woodruff did a number of paintings of children, including his celebrated Negro Boy, 1938, in the collection of Robert L. Johnson from the Barnett-Aden Collection. Additionally, another very similar painting of a child by Woodruff, Black Boy, from the estate of Loïs Mailou Jones, was sold in Swann's February 16, 2012 auction of African-American Fine Art.

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HALE WOODRUFF (1900 - 1980) Sunday Promenade.

Lot 41: 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, printed circa 1970. Signed and titled in pencil, lower margin.

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HALE WOODRUFF (1900 - 1980) Selections from the Atlanta Period.

Lot 42: HALE WOODRUFF (1900 - 1980) Selections from the Atlanta Period.

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Description: HALE WOODRUFF (1900 - 1980) Selections from the Atlanta Period. Portfolio of 8 linoleum cuts, circa 1931-1946. Each 482x380 mm; 19x15 inches (sheet), full margins, loose as issued. One of 300 numbered sets. Each numbered 298/300 in pencil, lower right. Printed by Robert Blackburn's Printmaking Workshop, New York, in 1996, with the blind stamp lower left. Published by the artist's wife and estate, with the blind stamp lower right. Includes: African Headdress * Old Church * Coming Home * Relics * By Parties Unknown * Giddap * Trusty on a Mule * Sunday Promenade. With the original printed blue portfolio folder. This set is found in numerous New York collections, including the Schomburg Center for Research in Black Culture, the Museum of Modern Art, the Metropolitan Museum of Art, the Studio Museum in Harlem and the Whitney Museum of American Art.

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WILLIAM H. JOHNSON (1901 - 1970) Untitled (Wooded Pathway).

Lot 43: WILLIAM H. JOHNSON (1901 - 1970) Untitled (Wooded Pathway).

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Description: WILLIAM H. JOHNSON (1901 - 1970) Untitled (Wooded Pathway). Watercolor on cream wove paper, circa 1931-1934. 483x337 mm; 19x13 1/4 inches. Provenance: Krake family, Denmark; thence by descent to Bente Krake; private collection, Denmark, with a handwritten note on the backing paper in Danish stating (translated) "I ,(signed) Bente Krake, confirm here by that this watercolor is made by William Johnson who was married to my aunt (my father's sister) Holka Krake. --Bente Krake." William H. Johnson spent the late 1920s in France, absorbing the lessons of modernism, painting more expressive landscapes. During this time, he met the Danish textile artist Holcha Krake in Cagnes-sur-Mer and they married in 1930. The couple lived, travelled, and exhibited in Scandinavia throughout the 1930s. This period included creating a home for themselves in Kerteminde, a small fishing community in central Denmark, a joint exhibition for the couple at the Christian Larsen Gallery in Copenhagen in 1933, and Johnson having a solo exhibition at the Trondheim Art Society in 1937.

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WILLIAM H. JOHNSON (1901 - 1970) On a John Brown Flight.

Lot 44: WILLIAM H. JOHNSON (1901 - 1970) On a John Brown Flight.

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Description: WILLIAM H. JOHNSON (1901 - 1970) On a John Brown Flight. Color pochoir and screenprint on cream wove paper, circa 1942-45. 406x610 mm; 16x24 inches. One of only several proofs, with rich, vibrant colors. Provenance: Mary Beattie Brady (director of the Harmon Foundation, New York); family descendant, Delaware; Debra Force Fine Art, New York; Martha Henry Fine Art, New York; private collection, New York. On a John Brown Flight is a very scarce example of an important color print. While living in New York in the early 1940s, William H. Johnson printed a handful of proof impressions from his screenprints, depicting colorful images of both the rural South and of Harlem. Out of the 17 known screenprint images Johnson made, On a John Brown Flight, is the only image of an American historical figure, and is the largest of the series. 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. Johnson also painted a heroic image of the Abolitionist leader in the 1945 oil John Brown Legend, where Brown is depicted with a halo of yellow hair like a saint. This is the first time this print has come to auction. We have located four other impressions of On a John Brown Flight in public collections - the Library of Congress, the Pennsylvania Academy of Fine Art, the Metropolitan Museum of Art, and the Smithsonian Institution. These were experimental and painterly prints, using both screens and pochoir (hand-colored stencils) - this impression has a slightly different registration in the harness of the oxen and the mountains.

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ALLAN ROHAN CRITE (1910 - 2007) The Last Supper.

Lot 45: ALLAN ROHAN CRITE (1910 - 2007) The Last Supper.

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Description: ALLAN ROHAN CRITE (1910 - 2007) The Last Supper. Linoleum cut on cream wove paper, 1937. 137x83 mm; 5 3/8x3 1/4 inches, wide (full?) margins. Signed, titled, and dated in pencil, lower margin. Titled and inscribed with the artist's address on the mount, verso.

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ALLAN ROHAN CRITE (1910 - 2007) Untitled (The Three Kings).

Lot 46: ALLAN ROHAN CRITE (1910 - 2007) Untitled (The Three Kings).

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Description: ALLAN ROHAN CRITE (1910 - 2007) Untitled (The Three Kings). Linoleum cut on cream wove paper, 1938. 127x79.4 mm; 5x3 1/8 inches, wide (full?) margins. Signed, initialed, and dated in pencil, lower margin.

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ALLAN ROHAN CRITE (1910 - 2007) Collection of approximately 200 linoleum cut blocks.

Lot 47: ALLAN ROHAN CRITE (1910 - 2007) Collection of approximately 200 linoleum cut blocks.

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Description: ALLAN ROHAN CRITE (1910 - 2007) Collection of approximately 200 linoleum cut blocks. • 70 linoleum blocks, circa 1937. Each approximately 133x76mm; 5 1/4x3 inches. Includes the blocks for the Biblical series The Childhood and Passion of our Blessed Lord and Savior Christ and The Life of Christ. • 40 linoleum blocks, circa 1937-1947. Includes the linoleum blocks for such well known Crite prints as Three Kings, and Adam and Eve, both in the collection of the Metropolitan Museum of Art. Various sizes. • Group of 20 includes copper plates, zinc plates, engravings, and wood blocks, circa 1937-1970. Various sizes. • 60 linoleum blocks, circa 1937-1970. Includes 10 linoleum blocks used for greeting cards, 2 with images of Boston street scenes, and 30 later, biblical linoleum blocks including Abel, which is in the collection of the Bowdoin College Museum of Art. Also includes 10 unfinished linoleum blocks. Various sizes. • 40 linoleum cuts printed on wood of 19 images, circa 1937-1947. Each approximately 178x114mm; 7x4 1/2 inches. They appear to be printed from Crite's earlier Biblical, linoleum blocks. Provenance: estate of the artist; private Massachusetts collection. During the course of his long life, Allan Rohan Crite enjoyed an extensive career as a painter, draftsman, printmaker, author, librarian, and publisher. In addition to painting and drawing the streets of his native Boston, Allan Crite, a devout Episcopalian, is known for portraying black figures in Biblical stories. In this extensive collection, one is able to see the artist's incredibly long career in printmaking, which began with these early woodcuts from the series The Life of Christ and continues well into the 1970s with his more expressive style. Crite was born in North Plainfield, New Jersey, but moved as a child with his family to Boston, Massachusetts. He graduated from English High School in 1929 and the School of the Museum of Fine Arts in 1936. In 1968 he received a BA degree from Harvard University Extension School. According to Crite, "I've only done one piece of work in my whole life and I am still at it. I wanted to paint people of color as normal humans. I tell the story of man through the black figure."

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CHARLES WHITE (1918 - 1979) Pensive Lass (Head of a Woman).

Lot 48: CHARLES WHITE (1918 - 1979) Pensive Lass (Head of a Woman).

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Description: CHARLES WHITE (1918 - 1979) Pensive Lass (Head of a Woman). Charcoal on illustration board, 1936. 775x508 mm; 30 1/2x20 inches. Signed and dated in charcoal, lower right. Provenance: Valerie Shaw, Los Angeles; private collection; thence by descent to the current owner. This is one of the earliest known drawing by Charles White to come to auction. Charles White was determined to become an artist despite his family's tight finances, and early rejections from discriminatory art schools. White won a $240 scholarship to attend the Chicago Art Institute, entering in 1937. White completed the two year course in one year, despite often walking the 60 blocks home to save money and working as a cook and valet. Upon his graduation in 1938, he soon qualified to join the easel and mural division of the Federal Art Project in Illinois. Gedeon D11.

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CHARLES WHITE (1918 - 1979) Untitled (Man with Cigar).

Lot 49: CHARLES WHITE (1918 - 1979) Untitled (Man with Cigar).

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Description: CHARLES WHITE (1918 - 1979) Untitled (Man with Cigar). Watercolor on thin, cream wove paper, circa 1937-38. 254x191mm; 10x7 1/2 inches. Signed in pencil, lower right. Provenance: the artist; Heritage Gallery, Los Angeles; private collection.

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CHARLES WHITE (1918 - 1979) Untitled (Man With Newspaper and Crossed Legs).

Lot 50: CHARLES WHITE (1918 - 1979) Untitled (Man With Newspaper and Crossed Legs).

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Description: CHARLES WHITE (1918 - 1979) Untitled (Man With Newspaper and Crossed Legs). Pencil on thin, cream wove paper, circa 1937-38. 254x191mm; 10x7 1/2 inches. Signed in pencil, lower right. Provenance: the artist; Heritage Gallery, Los Angeles; private collection.

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