The world’s premier auctions
 
 
WELCOME TO INVALUABLE
Be the first to know about
the latest online auctions.
Please enter a valid email address (name@host.com)
Sign Up »
PS: We value your privacy
Thank you!
 
 
Want to learn more
about online auctions?
Take a Quick Tour »
WE'VE CHANGED OUR NAME
is now
 
To celebrate, we’ve enhanced our site with
larger images and browsing by category to help
you easily find what you’re passionate about.
Remember to update your bookmarks.
Get Started »
 
Invaluable cannot guarantee the accuracy of translations through Google Translate and disclaims any responsibility for inaccurate translations.
Show translation options
Auction Description for Swann: OUT OF THE BLUE: MODERN ART AND JAZZ
Auction Description:
OUT OF THE BLUE: MODERN ART AND JAZZ
Viewing Notes:
Exhibition & Sale Schedule: Sale 2219 - Out of the Blue: Modern Art & Jazz - begins at 2:00pm in New York on Thurs, June 24. All material in Sale 2219 on display at our premises in New York City, 104 East 25th Street, as follows - Sat, June 19: 11am to 5pm - Mon, June 21: 10am to 6pm - Tues, June 22: 10am to 6pm - Wed, June 23: 10am to 6pm - Thurs, June 24: 10am to Noon.

OUT OF THE BLUE: MODERN ART AND JAZZ

by Swann Auction Galleries

Platinum House

76 lots with images

June 24, 2010

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

76 Lots
Sort by:
Lots with images first
Next »
Per page:
RALPH A. CHESSÉ (1900 - 1991) Untitled (Flapper).

Lot 1: RALPH A. CHESSÉ (1900 - 1991) Untitled (Flapper).

Estimated Price: Log in or create account to view price data

Description: RALPH A. CHESSÉ (1900 - 1991) Untitled (Flapper). Ink and ink wash on thin board, 1926. 362x286mm; 14 1/4x11 1/4 inches, full margins. Signed in ink, lower right. Ralph Chessé grew up in New Orleans, and moved to San Francisco in 1924. While he is recognized as a puppeteer and movie set designer, famous for marionettes such as those he created for the 1937 production of Eugene O'Neil's The Emperor Jones, Chessé also had an early career as a painter and printmaker during the WPA. In 1934, he was one of 26 artists chosen to paint the frescoes in San Francisco's Coit Tower as part of the Public Works of Art Project, the first New Deal program benefiting artists. His drawing of a 1920s flapper evokes the theatricality found in his later stage creations.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
RALPH A. CHESSÉ (1900 - 1991) Backyard Jazz.

Lot 2: RALPH A. CHESSÉ (1900 - 1991) Backyard Jazz.

Estimated Price: Log in or create account to view price data

Description: RALPH A. CHESSÉ (1900 - 1991) Backyard Jazz. Woodcut on imitation Japan paper, 1928. 241x200mm; 9 1/2x7 7/8 inches, full margins. Signed, titled and dated in pencil, lower margin. A very good, dark impression of this scarce print.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
RICHARD R. BEATTY (1899 - 1961) Porgy.

Lot 3: RICHARD R. BEATTY (1899 - 1961) Porgy.

Estimated Price: Log in or create account to view price data

Description: RICHARD R. BEATTY (1899 - 1961) Porgy. Lithograph, 1929. 247x184 mm; 9 3/4x7 3/4 inches, wide (full ?) margins. Signed, titled, dated and numbered 18/30 in pencil, lower margin. A very good, dark impression of this scarce print. According to the Cleveland State University Art Gallery, this mourning scene from Porgy was the artist's favorite print and hung in the lobby of the Ohio Theater in 1929. There are impressions in the collection of the Cleveland Museum of Art and the Russell and Rowen Jelliffe collection at Cleveland State University. Before coming to Cleveland, Richard R. Beatty studied at the Carnegie Insititute in Pittsburgh and the Chicago Art Insititute. In 1925, he worked in the print department of the Cleveland Museum of Art, and then in 1929, in the print room of Korner & Wood Company. His lithographs were exhibited in the "May Show" of the Cleveland Artist Exhibits in 1927-28, 1930--when he won first prize, 1938 and 1941. By 1934, he was a printmaking instructor and director of the Karamu Art Studio, where he designed sets for the Gilpin Players of Karamu House.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
HALE WOODRUFF (1900 - 1980) Blind Musician.

Lot 4: HALE WOODRUFF (1900 - 1980) Blind Musician.

Estimated Price: Log in or create account to view price data

Description: HALE WOODRUFF (1900 - 1980) Blind Musician. Woodcut on wove paper, 1935. 152x102 mm; 6x4 inches, full margins. Artist's proof. From an edition of 10, printed posthumously in 1981 by the Robert Blackburn Printmaking Workshop under the supervision of Theresa A. Woodruff, the artist's widow. Signed "Hale Woodruff," titled, inscribed A/P and initialed "T.W." by Theresa Woodruff in pencil, lower margin. A very good, dark impression of this scarce print.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
DOX THRASH (1892 - 1965) Played Out or Intermission.

Lot 5: DOX THRASH (1892 - 1965) Played Out or Intermission.

Estimated Price: Log in or create account to view price data

Description: DOX THRASH (1892 - 1965) Played Out or Intermission. Etching and aquatint, 1937-38. 225x149mm; 8 7/8x5 7/8 inches, full margins. From the Nowak restrike edition, printed in the early 1970s. With the artist's estate signature ink stamp, lower right. Numbered V/X in pencil, lower left. A very good impression of this scarce print. Ittmann describes Played Out as "infusing the banjo player with sensitivity and a feeling of individuality. ... This is not the happy-go-lucky type of yesteryear." Restrike editions of the nine Thrash plates owned by the Nowaks were printed shortly after April 15, 1971. Another copy of Played Out or Intermission can be found in The Free Library of Philadelphia. Ittmann pl. 54, p. 100.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
DOX THRASH (1892 - 1965) Banjo Player.

Lot 6: DOX THRASH (1892 - 1965) Banjo Player.

Estimated Price: Log in or create account to view price data

Description: DOX THRASH (1892 - 1965) Banjo Player. Pen and ink on cream wove paper, 1941. 244x229 mm; 9 5/8x9 inches. Provenance: the artist; Edna Thrash, the artist's wife; Samuel and Sally Nowak, Philadelphia; Allan H. Nowak, Sunny Isles Beach, FL.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
DOX THRASH (1892 - 1965) Three Ladies (Facing Right).

Lot 7: DOX THRASH (1892 - 1965) Three Ladies (Facing Right).

Estimated Price: Log in or create account to view price data

Description: DOX THRASH (1892 - 1965) Three Ladies (Facing Right). Color carborundum relief etching, circa 1943-44. 216x140mm; 8 1/2x5 1/2 inches, full margins. Artist's proof, one of only four known impressions. A good impression of this very scarce print. Illustrated: Dox Thrash: An African American Master Printmaker Rediscovered, Philadelphia Museum of Art, fig. 53, p. 37. Dox Thrash created two versions of Three Ladies, mirror images of one another, as he experimented with both color and surrealism in the early 1940s. Ittmann lists only one other known impression of this print. Ittmann pl. 148, p. 120.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
E. C. NIXON Lionel Hampton and Earl Hines at the Regal.

Lot 8: E. C. NIXON Lionel Hampton and Earl Hines at the Regal.

Estimated Price: Log in or create account to view price data

Description: E. C. NIXON Lionel Hampton and Earl Hines at the Regal. Watercolor and charcoal on Whatman illustration board, circa 1935-41. Approx. 730x533 mm; 28 3/4x21 inches (oval shaped). Signed in watercolor, lower right. Provenance: private collection. Both pianist Earl "Fatha" or "Father" Hines and vibraphone pioneer Lionel Hampton played at Harlem's Regal Theater in the late 1930s through the early 1940s. Although they both played at the Regal in New York during the same era, they seldom played together. Both jazz musicians played there at the height of the swing and the beginning of the big band era.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
JOSEPH DELANEY (1904 - 1991) Harlem, Sunday Morning.

Lot 9: JOSEPH DELANEY (1904 - 1991) Harlem, Sunday Morning.

Estimated Price: Log in or create account to view price data

Description: JOSEPH DELANEY (1904 - 1991) Harlem, Sunday Morning. Oil on masonite board, 1942. 1016x533 mm; 40x21 inches. Signed and dated in oil, lower left. Signed, titled and inscribed with the artist's address "33 Union Square West, NYC 10003" in brown ink on brown paper, mounted on the verso. Provenance: the artist, New York; Lawrence B. Dorsey, New York; private collection. Harlem, Sunday Morning is described as the artist's "favorite painting" in Romare Bearden and Harry Henderson's chapter on the artist in A History of African-American Artists. Despite giving many of his works away, "Delaney's favorite painting, Harlem Sunday Morning, remained in his possession. It depicts masses of people going to church in Harlem, women and children in their best clothes and a man strumming on a guitar. 'It's a story that appeals to me, it's got the feeling that I'm always after,' the artist said." This is one of the earliest and largest paintings by Joseph Delaney to come to auction. In 1930, at the age of 26, Joseph Delaney moved from his native Tennessee to New York, where he studied at the Art Students League with Thomas Hart Benton. In 1932, he exhibited in the first Washington Square Outdoor Art Show, where he continued to work as a sketch artist. From 1934 to 1940, Delaney worked for the WPA on projects in New York City, including the Index of Design for the Metropolitan Museum of Art. His wartime paintings from this mid-1940s period are some of his largest and most complex paintings of outdoor scenes, including Penn Station in Wartime, 1943, in the Whitney Museum of American Art.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
CLAUDE CLARK (1915 - 2001) Scribe of Jive.

Lot 10: CLAUDE CLARK (1915 - 2001) Scribe of Jive.

Estimated Price: Log in or create account to view price data

Description: CLAUDE CLARK (1915 - 2001) Scribe of Jive. Color carborundum etching, 1941. 156x273 mm; 6 1/8x10 3/4 inches, full margins. Signed and titled in pencil, lower margin. A very good impression of this rare print. This print is alternately--and more commonly--titled Jivin' Scribe. There is another impression in the Reba and Dave Williams collection, illustrated on p. 12 of Alone in a Crowd: Prints of the 1930s-40s by African-American Artists.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
ALLAN ROHAN CRITE (1910 - 2007) I Love a Parade.

Lot 11: ALLAN ROHAN CRITE (1910 - 2007) I Love a Parade.

Estimated Price: Log in or create account to view price data

Description: ALLAN ROHAN CRITE (1910 - 2007) I Love a Parade. Lithograph, 1945. 205x255 mm; 8x10 inches, wide (full ?) margins. Signed, titled, dated and numbered 7/15 in ink, lower margin. A very good impression of this very scarce print. Provenance: collection of George and Joyce Wein, New York. We have only seen one other impression of this print at auction in the past 25 years.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
NORMAN LEWIS (1909 - 1979) Conversation (Two Abstract Heads).

Lot 12: NORMAN LEWIS (1909 - 1979) Conversation (Two Abstract Heads).

Estimated Price: Log in or create account to view price data

Description: NORMAN LEWIS (1909 - 1979) Conversation (Two Abstract Heads). Color pastel crayons, wash, pen and ink, 1945. 317x400 mm; 12 1/2x15 3/4 inches. Signed and dated in ink, lower right. Provenance: estate of the artist; private collection, New York. Exhibited: Visions of America: A Black Perspective, ACA Galleries, New York, January 19 - March 2, 2002, with the label on the frame back, with the title Abstract Self-Portrait. Norman Lewis's Conversation is an early figurative study within abstraction, made just at the end of World War II. His lean, angular use of line as both a framing device and a Cubist contour is evident in other works from 1945. This drawing reveals the expressive side of Lewis's transition to abstraction in the mid-1940s.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
NORMAN LEWIS (1909 - 1979) Bassist.

Lot 13: NORMAN LEWIS (1909 - 1979) Bassist.

Estimated Price: Log in or create account to view price data

Description: NORMAN LEWIS (1909 - 1979) Bassist. Oil on canvas, 1946. 755x300 mm; 29 5/8x11 7/8 inches. Signed and dated "3-11-46" in oil, lower right. Provenance: estate of the artist, New York; Bill Hodges Gallery, New York; private collection. Illustrated: Graham Lock and David Murray, ed.The Hearing Eye: Jazz & Blues Influences in African American Visual Art. Oxford: Oxford University Press, 2009, p. 106, fig. 4.3. Bassist is one of the earliest abstracted jazz musicians that Norman Lewis painted between 1945 and 1946, and the first to come to auction. Lewis painted these wonderful jazz images just before he was invited to exhibit at the Marian Willard Gallery for the first time in the fall of 1946. Similar to Street Musicians and Cosmopolitan in the collection of George and Joyce Wein, New York, Bassist shows the artist's exploration of a Cubist-type of figuration, with lines and a flat application of tonal color. These paintings are very scarce due to the brief period of this transitional period in Lewis's career. By the fall of 1946, Lewis had begun a new series of urban abstraction, as found in Metropolitan Crowd in the Delaware Art Museum, and Twilight Sounds, 1947, in the St. Louis Museum of Art. Both the painting and drawing Jazz Musicians of 1948 are the last works we have found with an explicit jazz theme--later works became almost completely abstract.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
WALTER AUGUSTUS SIMON (1916 - 1979) City Abstraction.

Lot 14: WALTER AUGUSTUS SIMON (1916 - 1979) City Abstraction.

Estimated Price: Log in or create account to view price data

Description: WALTER AUGUSTUS SIMON (1916 - 1979) City Abstraction. Oil on canvas, circa 1948. 760x510 mm; 30x20 inches. Initialed (indistinctly) in oil, lower right. Provenance: the estate of the artist, Virginia.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
NORMAN LEWIS (1909 - 1979) Untitled (Abstract Cityscape).

Lot 15: NORMAN LEWIS (1909 - 1979) Untitled (Abstract Cityscape).

Estimated Price: Log in or create account to view price data

Description: NORMAN LEWIS (1909 - 1979) Untitled (Abstract Cityscape). Brush, pen and ink on cream wove paper, 1949. 490x610 mm; 19x24 inches. Signed and dated in pencil, lower right. Provenance: acquired directly from the artist; collection of Oral Lovell, Wellesley, MA: thence by descent to the current owner, private collection. Exhibited: Norman Lewis Black Paintings 1946-1977, The Studio Museum in Harlem, New York, April 1 - September 20, 1998, with the label on the frame back. Illustrated: Norman Lewis Black Paintings 1946-1977, Kinshasha Holman Conwill, The Studio Museum in Harlem, New York, 1998, #52, pl. 17 and p. 32.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
NORMAN LEWIS (1909 - 1979) City Night.

Lot 16: NORMAN LEWIS (1909 - 1979) City Night.

Estimated Price: Log in or create account to view price data

Description: NORMAN LEWIS (1909 - 1979) City Night. Oil on wood panel, 1949. 610x455 mm; 24x18 inches. Signed and dated in incised oil, lower right recto. Titled "City Nights" in ink and "City Night" in crayon on the verso. Provenance: acquired directly from the artist; collection of Oral Lovell, Wellesley, MA: thence by descent to the current owner, private collection. Exhibited: Willard Gallery, New York, with the gallery label on the panel verso. The artist had his first solo exhibition at Willard Gallery in 1949. A painting entitled City Lights is listed in the catalogue for his 1950 exhibition. City Night is one of the first scarce "black" paintings and one of the earliest abstract paintings by Norman Lewis to come to auction. Lewis found his first abstract idiom in the urban life of New York City. He would paint what he saw from his studio window or on walks at night in Harlem. Beginning with Tenement, 1948, Lewis found an abstract pattern in the colored rectangles of illuminated windows against the black ground of the darkened city. In City Night, Lewis condensed the abstraction of New York tenements into a denser, more organic grid that is less literal, and is bissected with lines representing clothes and power lines strung between buildings. The abstraction of the vertical structure in this painting and other cityscapes reflects Lewis's growing modernist approach to painting at the end of the 1940s. Conwill pp. 32-33.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
CHARLES ALSTON (1907 - 1977) Untitled (Cityscape at Night).

Lot 17: CHARLES ALSTON (1907 - 1977) Untitled (Cityscape at Night).

Estimated Price: Log in or create account to view price data

Description: CHARLES ALSTON (1907 - 1977) Untitled (Cityscape at Night). Oil on canvas, circa 1950-55. 507x610 mm; 20x24 inches. Signed in oil, lower right. Provenance: private collection. Exhibited: New Art Center Gallery, New York, with the label on the frame back. This is a wonderful example of Alston's urban abstraction, which he began in the late 1940s. Like Norman Lewis, Alston depicts New York City at night in a series of increasingly abstract paintings. With its cubism of vertical urban forms, this painting is related to his Harlem at Night and The City at Night, both 1948. This painting's heavier, impastoed strokes likely date this scene closer to his Blues Singer series of jazz paintings in the mid-50s with their similar sculptural, almost Cubist forms of color. Alston had his first solo exhibition at John Heller Gallery in New York City in 1953. Alston was an avid jazz fan since his early days teaching in Harlem in the 1930s. In a 1968 interview with Al Murray, he recounted the indelible impression the music made on him: "The night life was fabulous. The corner saloons, back rooms jumped, you know, places like Hotcha and Mike's and little places that had back rooms. You'd go into Hotcha and Bobby Henderson was playing the piano, Billie Holliday was singing. You'd go across Lenox Avenue to the little bar across from Harlem Hospital and Art Tatum was playing the piano. Ethel Waters was here. The place just jumped." According to Alvia J. Wardlaw, "one constant during this period of visual experimentation was the artist's love of jazz." In this modernist painting, we see that the setting of this music--New York City at night--inspired Alston, too. Jennings p. 16; Wardlaw pp. 59-60.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
MONETA SLEET, JR. (1926 - 1996) Thelonious Monk.

Lot 18: MONETA SLEET, JR. (1926 - 1996) Thelonious Monk.

Estimated Price: Log in or create account to view price data

Description: MONETA SLEET, JR. (1926 - 1996) Thelonious Monk. Silver print, 1959. 343x216 mm; 13 1/2x8 1/2 inches, full (?) margins. Signed, titled and dated in pencil, verso. Provenance: the family of Moneta Sleet, Jr. Moneta Sleet, Jr. is famous for his 1969 Pulitzer Prize-winning photograph, Deep Sorrow, the somber portrayal of Coretta Scott King at the funeral of her husband, the Rev. Dr. Martin Luther King, Jr. Sleet became the first African American to win the Pulitzer Prize for photography.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
MONETA SLEET, JR. (1926 - 1996) Billie Holiday.

Lot 19: MONETA SLEET, JR. (1926 - 1996) Billie Holiday.

Estimated Price: Log in or create account to view price data

Description: MONETA SLEET, JR. (1926 - 1996) Billie Holiday. Silver print, 1958. 327x197 mm; 12 7/8x7 3/4 inches, full margins. With the artist's Ebony-Jet ink stamp, "Staff Photo By Moneta Sleet, Jr. Ebony-Jet--Ebony, Jr.," on verso. Provenance: the family of Moneta Sleet, Jr. Sleet worked for Ebony and Jet magazines, where the photojournalist published his photographs of politicians and musicans. He recalls this harrowing image of Billie Holiday--one of his most reproduced photographs--in the last year of her life, her arms scarred from needles: "A very tragic figure. During the photo session, she seemed as if she was just going through the motions. There was despair in her eyes."

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
CHARLES WHITE (1918 - 1979) Folksinger.

Lot 20: CHARLES WHITE (1918 - 1979) Folksinger.

Estimated Price: Log in or create account to view price data

Description: CHARLES WHITE (1918 - 1979) Folksinger. Linoleum cut on thin Japan paper, 1958. 907x455 mm; 35 3/4x18 inches, wide (full ?) margins. Edition of 25. Signed, titled and dated in pencil, lower margin. Signed, titled, dated and inscribed with his "return address" at "1765 Summit Ave., Pasadena, CA," in ink on the brown backing paper. A superb impression with bright contrasts. Gedeon Eb 12. Provenance: private Los Angeles collection. We have not found another impression of Folksinger at auction in the past 25 years. While Gedeon notes the edition size is 25, this large linoleum cut is very scarce--we have been able to locate only two other impressions in private collections. In this iconic print, Charles White reinterprets his 1957 Folk Singer ink drawing in the collection of Harry Belafonte. In the late 1950s, White made musicians, singers and actors the subjects of his work--from the famous to the anonymous. While they had met in the early 1950s through their membership in the Committee for the Negro Arts, White and Belafonte became close friends and collaborated often once White moved to California. Andrea Barnwell describes how "with a generous gift from their dear friend Harry Belafonte," Frances and Charles White rented a house from friends on Summit Avenue in Pasadena in 1956 before they moved to nearby Altadena. Belafonte wrote the introduction to White's 1958 ACA Gallery exhibition catalogue when he first showed Folk Singer, and the foreword to the 1967 book Images of Dignity: The Drawings of Charles White. In the latter, Belafonte describes the profound connection he made to the work of Charles White: "You are enriched by the experience of having known Charles White's people, who are like characters from a great novel that remain with you long after the pages of the book have been closed." Through White's hand, one can also know this great singer. They also worked together on Belafonte's 1962 book Songs Belafonte Sings, which White illustrated. Barnwell p. 61; Horowitz p. 1.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
ROMARE BEARDEN (1911 - 1988) Untitled (Abstract Composition).

Lot 21: ROMARE BEARDEN (1911 - 1988) Untitled (Abstract Composition).

Estimated Price: Log in or create account to view price data

Description: ROMARE BEARDEN (1911 - 1988) Untitled (Abstract Composition). Felt-tipped pen and ink on thin cream laid paper, 1960. 305x133 mm; 12x5 1/2 inches, full margins. Signed in ink, lower left. Initialed and dated "60" in ink, lower right. Provenance: private New York collection.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
CLIFFORD JACKSON (1927 -   ) Untitled (Abstract Composition).

Lot 22: CLIFFORD JACKSON (1927 - ) Untitled (Abstract Composition).

Estimated Price: Log in or create account to view price data

Description: CLIFFORD JACKSON (1927 - ) Untitled (Abstract Composition). Oil on canvas, 1962-63. 457x250 mm; 18x13 3/4 inches. Dated "11-9-62 - 24-3-63" in oil, lower left. Signed in ink, verso. Provenance: Obro Art Gallery, Copenhagen; private collection. Inscribed "Bjors Holms gata #36," the artist's Stockholm address, in pencil on the stretcher bar. Known as both a painter and jazz musician, Clifford Jackson's painting career began in Scandinavia in the late 1950s and 1960s. His abstract paintings evoke the spirit of his jazz music. Jackson studied at the Art Students League and the Skowhegan School of Painting and Sculpture before being awarded a John Hay Whitney Fellowship in 1957. The artist moved to Stockholm, where he studied at the Royal Academy of Art. Today, his paintings are found in the collections of the Whitney Museum of American Art, the Sundsvall Museum, Sundsvall, Sweden, and the Studio Museum in Harlem.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
BEAUFORD DELANEY (1901- 1979) Untitled (Composition in Blue).

Lot 23: BEAUFORD DELANEY (1901- 1979) Untitled (Composition in Blue).

Estimated Price: Log in or create account to view price data

Description: BEAUFORD DELANEY (1901- 1979) Untitled (Composition in Blue). Gouache on wove paper, 1961. 660x500 mm; 26x19 3/4 inches. Latune de Blacons watermark. Signed, dated "Dec. 25, 1961" and inscribed "Paris" in ink, lower right. Provenance: the artist; Madame du Closel, Paris; private New York collection. Beauford Delaney had many early associations with music and jazz. As a part of the Village art scene in the late 1940s and early 1950s, he went to jazz clubs with Stuart Davis, and depicted such scenes in paintings like Jazz Quartet, 1946, Beauford Delaney's Loft, 1948 and Untitled (Jazz Club), circa 1951, and painted portraits of Louis Armstrong, Duke Ellington and Ethel Waters. When he moved to Paris in 1953, following his friend James Baldwin, Delaney found another community of expatriate artists, writers and musicians like the singer Jimmy "Lover Man" Davis and guitarist Gordon Heath, whose Club de l'Abbaye became the place to hear American swing and be-bop. Painted on Christmas Day, this atmospheric work on paper was part of a series of minimal chromatic abstractions made in Paris through the early 1960s. Hia Paris paintings reflected a sensitivity to light and a quieter voice than the noise and tumult of Greenwich Village. Particularly in this body of work, art historian Michael D. Plante sees a subtle "silence"--"nothing is described nor contoured; the viewer is left to be seduced by Delaney's painterly touch." He also painted a Composition in Blue, oil on canvas, which was included in his solo exhibition at Galerie Paul Facchetti in June of 1960 and loaned to the Pittsburgh International Exhibition of Contemporary Painting and Sculpture at the Carnegie Institute in 1962. Conwill pp. 34-35; Canterbury p. 87.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
BOB THOMPSON (1937 - 1966) Steve Lacy.

Lot 24: BOB THOMPSON (1937 - 1966) Steve Lacy.

Estimated Price: Log in or create account to view price data

Description: BOB THOMPSON (1937 - 1966) Steve Lacy. Pen and ink on wove paper, circa 1959-60. Approx. 229x127 mm; 9x5 inches. Provenance: the artist, New York; Carol Thompson, the artist's wife, New York; Elaine Plenda, her sister, New York.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
BOB THOMPSON (1937 - 1966) John and Julian.

Lot 25: BOB THOMPSON (1937 - 1966) John and Julian.

Estimated Price: Log in or create account to view price data

Description: BOB THOMPSON (1937 - 1966) John and Julian. Pencil on wove paper, 1959. Approx. 229x127 mm; 9x5 inches. Signed, titled and dated in pencil, upper left. Provenance: the artist, New York; Carol Thompson, the artist's wife, New York; Elaine Plenda, her sister, New York. This intimate drawing is an early and striking double portrait of one of the most famous saxophone pairings--John Coltrane and Julian "Cannonball" Adderley. In 1958-59, they were part of the super group, the Miles Davis Sextet, that together recorded such albums as Milestones, Porgy and Bess and the legendary Kind of Blue.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
BOB THOMPSON (1937 - 1966) Tribute to an American Indian.

Lot 26: BOB THOMPSON (1937 - 1966) Tribute to an American Indian.

Estimated Price: Log in or create account to view price data

Description: BOB THOMPSON (1937 - 1966) Tribute to an American Indian. Gouache, pastel and pencil on printed paper, 1963. 241x305 mm; 9 1/2x12 inches. Signed in ink (faded), lower left. Inscribed "This is called Tribute to American Indian. The painting is in the collection of Harry Abrams. Done on paper from catalogue of Cy Twombly" in pencil by an unknown hand on the verso. A study for Bob Thompson's 63x87 in same-titled painting. Provenance: the artist; collection of Mr. and Mrs. Steinmann, New York; private collection, New York. Bob Thompson irrevently painted this tribute to Native Americans over a reproduction of a Cy Tyombly painting from 1960.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
BOB THOMPSON (1937 - 1966) Untitled (Landscape).

Lot 27: BOB THOMPSON (1937 - 1966) Untitled (Landscape).

Estimated Price: Log in or create account to view price data

Description: BOB THOMPSON (1937 - 1966) Untitled (Landscape). Oil on canvas, unstretched, circa 1960. 273x241 mm; 10 3/4x9 1/2 inches. Signed in oil, lower left. Provenance: gift or exchange with the artist, Peter Passuntino, New York. Bob Thompson and Peter Passuntino were both West Village artists and friends in the early 1960s and often gave each other works of art. Both artists showed together in Exhibition of Paintings: Peter Passuntino/Bob Thompson at City Gallery in New York in 1964. Passuntino later formed the influential artist group Rhino Horn with fellow figurative artists Benny Andrews, Jay Milder, Nicholas Sperakis and June Leaf.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
BOB THOMPSON (1937 - 1966) Untitled (Figures in a Forest).

Lot 28: BOB THOMPSON (1937 - 1966) Untitled (Figures in a Forest).

Estimated Price: Log in or create account to view price data

Description: BOB THOMPSON (1937 - 1966) Untitled (Figures in a Forest). Watercolor, graphite, crayon and ink wash on paper, circa 1964. 457x610 mm; 18x24 inches. Signed in graphite, lower left. Provenance: gift or exchange with the artist, Peter Passuntino, New York.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
BOB THOMPSON (1937 - 1966) Untitled (Study for Figures in a Forest).

Lot 29: BOB THOMPSON (1937 - 1966) Untitled (Study for Figures in a Forest).

Estimated Price: Log in or create account to view price data

Description: BOB THOMPSON (1937 - 1966) Untitled (Study for Figures in a Forest). Brush and ink, circa 1964. 500x381 mm; 19 1/2x15 inches. Signed in ink, lower left. Provenance: gift or exchange with the artist, Peter Passuntino, New York. An apparent sketch or study with the same composition of figures in Untitled (Figures in a Forest). Drawn on the verso of a Passuntino charcoal sketch, signed and dated 1953.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
WALTER WILLIAMS (1920 - 1988) Pawnshop.

Lot 30: WALTER WILLIAMS (1920 - 1988) Pawnshop.

Estimated Price: Log in or create account to view price data

Description: WALTER WILLIAMS (1920 - 1988) Pawnshop. Aquatint on cream wove paper, 1955. 381x450 mm; 15x17 3/4 inches, full margins. Signed, titled and dated in pencil, lower margin. A very dark, inky impression of a very scarce print. This print is closely related to Third Avenue El, gouache on paper, 1955, in the Evans-Tibbs Collection, and shows the influence of Ben Shahn and Gregorio Prestopino, with whom Williams studied at the Brooklyn Museum School.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
HARTWELL YEARGANS (1915 - 2005) Folk Singer.

Lot 31: HARTWELL YEARGANS (1915 - 2005) Folk Singer.

Estimated Price: Log in or create account to view price data

Description: HARTWELL YEARGANS (1915 - 2005) Folk Singer. Woodcut on thin Japan paper, 1965. 330x240 mm; 13x9 1/2 inches, full margins. Signed, titled, dated and numbered 44/50 in pencil, lower margin. Printed by the artist, New York. Published by Associated American Artists, New York. A very good impression of this scarce print. According to his estate, this woodcut is the artist's first print. This woodcut is based on another early painting of Yeargans's that is included in the collection of Larry and Brenda Thompson. The Folk Singer, 1963, is illustrated on the front cover of the catalogue for the 2009 exhibition of their collection at the David C. Driskell Center of Art at the University of Maryland, which is now at the Museum of Contemporary Art, Jacksonville, FL.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
HARTWELL YEARGANS (1915 - 2005) Bass and Guitar Musicians.

Lot 32: HARTWELL YEARGANS (1915 - 2005) Bass and Guitar Musicians.

Estimated Price: Log in or create account to view price data

Description: HARTWELL YEARGANS (1915 - 2005) Bass and Guitar Musicians. Oil on canvas, 1964. 610x457 mm; 24x18 inches. Signed in oil, lower right. Signed, titled and dated in ink on the stretcher bars. Provenance: the estate of the artist, New York. This is the first painting by the artist to come to auction. Hartwell Yeargans based his jazz paintings on visits to New York's Five Spot jazz club, located on St. Mark's Place and Third Avenue, in the early 1960s. It was a small "joint" that seated only 75 people, but where many jazz innovators such as Jackie Maclean, Cecil Taylor, Thelonius Monk and Ornette Coleman performed. Yeargans lived nearby in the East Village, and would bring his sketch book to performances. It also attracted many Village artists as regulars, including Willem DeKooning, Jackson Pollock, Franz Klein, Paul Jenkins, Mark Rothko and Bob Thompson.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
ERNIE BARNES (1938 - 2009) Song of Myself.

Lot 33: ERNIE BARNES (1938 - 2009) Song of Myself.

Estimated Price: Log in or create account to view price data

Description: ERNIE BARNES (1938 - 2009) Song of Myself. Oil on canvas, circa 1970. 609x914 mm; 24x36 inches. Signed in oil, lower right. Titled in ink on the stretcher bars. Provenance: the artist, California; the collection of George and Joyce Wein, New York. Illustrated: Syncopated Rhythms: 20th Century African-American Art from the George and Joyce Wein Collection, Boston University Art Gallery, p. 24. Exhibited: Syncopated Rhythms: 20th Century African-American Art from the George and Joyce Wein Collection, Boston University Art Gallery, November 18, 2005 - January 22, 2006. In the Syncopated Rythms catalogue, Barnes recalls the guitar player as a figure "that I was exposed to when I was growing up in my hometown of Durham, North Carolina. It reveals, I think...the way the people who sang the blues, sang as a way of solving the blues...I've become aware that music is an investigation of the black mind and reveals the inner world of what is really an oral culture...(The title) is quite correct. The only thing (the guitar player) is exposed to is his own feelings. Singing was an avenue, of course of expressing those feelings." This painting is a scarce, early example of a blues subject by the recently deceased artist. Barnes, who played in the NFL until his retirement in 1968, is best known for the famous 1971 Sugar Shack dance scene, which appeared on the 1970s television show Good Times and on the 1976 album cover for Marvin Gaye's I Want You.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
MAVIS PUSEY (1928 -   ) Frozen Vibration.

Lot 34: MAVIS PUSEY (1928 - ) Frozen Vibration.

Estimated Price: Log in or create account to view price data

Description: MAVIS PUSEY (1928 - ) Frozen Vibration. Color lithograph, 1968. 514x665 mm; 20 1/4x26 1/8 inches. Signed, titled, dated and inscribed 24/40 in pencil, lower margin. A bold, bright impression of this scarce print. Another impression of this print can be found in the collection of the Museum of Modern Art, New York.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
MAHLER B. RYDER (1937 - 1992) Untitled.

Lot 35: MAHLER B. RYDER (1937 - 1992) Untitled.

Estimated Price: Log in or create account to view price data

Description: MAHLER B. RYDER (1937 - 1992) Untitled. Mixed media assemblage on wood panel, 1963-5. 774x495 mm; 30 1/2x19 1/2 inches. Signed and dated in ink, lower right. Provenance: private collection. This is the first known work by this painter, sculptor, musician and educator to come to auction. This early assemblage with found objects reflects his interest in both urban, social and political issues through the 1970s. Jazz was also a major influence in his work, particularly in his 1980s painted assemblages, including Homage to the Guitar, illustrated in Samella Lewis's African American Art and Artists. He was an accomplished and self-taught jazz musician, inspired by both Stuart Davis and Romare Bearden. Ryder was an illustration professor at the Rhode Island School of Design for almost 30 years. He was one of the founders of the Studio Museum in Harlem, and served as the museum's executive secretary in 1966-67. He had many museum exhibitions, including solo shows at the Whitney Museum of American Art, New York in 1973 and the Museum of the National Center of Afro-American Artists, Boston in 1977. The year before his death, Ryder also organized an exhibition of jazz-related art for an international tour under the auspices of the United States Information Agency. St. James p. 462.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
WILLIAM T. WILLIAMS (1942 -   ) Untitled (HKL 1).

Lot 36: WILLIAM T. WILLIAMS (1942 - ) Untitled (HKL 1).

Estimated Price: Log in or create account to view price data

Description: WILLIAM T. WILLIAMS (1942 - ) Untitled (HKL 1). Color screenprint, 1970. 406x292 mm; 16x11 1/2 inches, full margins. Signed and numbered 102/144 in pencil, lower right. From the HKL portfolio. A very good impression of this scarce print. The complete portfolio HKL was also included in the artist's 2010 retrsopective William T. Williams: Variations on Theme at the David C. Driskell Center, University of Maryland.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
WILLIAM T. WILLIAMS (1942 -   ) Untitled (HKL 2).

Lot 37: WILLIAM T. WILLIAMS (1942 - ) Untitled (HKL 2).

Estimated Price: Log in or create account to view price data

Description: WILLIAM T. WILLIAMS (1942 - ) Untitled (HKL 2). Color screenprint, 1970. 406x292 mm; 16x11 1/2 inches, full margins. A hors commerce impression, aside from the edition of 144. Signed, inscribed "h/c" and numbered II/IX in pencil, lower right. From the HKL portfolio. A very good impression of this scarce print. We have found only one previous auction record for a work sold by this contemporary artist at auction; his lithograph Red Fern sold at Swann Galleries on February 19, 2008.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
NORMAN LEWIS (1909 -1979) The Red Umbrella.

Lot 38: NORMAN LEWIS (1909 -1979) The Red Umbrella.

Estimated Price: Log in or create account to view price data

Description: NORMAN LEWIS (1909 -1979) The Red Umbrella. Etching printed in rust on a bluish-grey chine-collé, 1972. 300x400 mm; 11 3/4x15 3/4 inches, full margins. Signed, titled, dated, numbered 4/25 and inscribed "To Oral with affection" in pencil, lower margin. A very good impression of this scarce print. We have not found another impression at auction in the past 25 years. There is another impression in the David C. Driskell Collection, illustrated in Narratives of African-American Art and Identity, pl. 81, p.148.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
VINCENT D. SMITH (1929 - 2003) A Moment Supreme.

Lot 39: VINCENT D. SMITH (1929 - 2003) A Moment Supreme.

Estimated Price: Log in or create account to view price data

Description: VINCENT D. SMITH (1929 - 2003) A Moment Supreme. Etching, 1972. 220x275 mm; 8 3/4x10 3/4 inches, full margins. Signed and numbered 30/35 in pencil, lower margin. Printed at Robert Blackburn's Printmaking Workshop, New York. A superb, dark impression of this scarce print. On July 17, 1967, the jazz world was stunned when John Coltrane died from liver cancer at the age of 40. This etching evokes a stirring scene, recalling the funeral service for Coltrane on July 21st at St. Peter's Lutheran Church in New York City, when both the Ornette Coleman and the Albert Ayler quartets performed. Vincent Dacosta Smith's art career was defined by his relationship to jazz since the 1950s. "During the day I painted and at night I went to the jazz clubs," Smith told the Amsterdam News. He was very much a part of the "downtown scene"--a regular in clubs, where he befriended such jazz musicians as Lester Young, Charlie Parker, Thelonious Monk, Art Blakely and Max Roach. St. James p. 500.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
BENNY ANDREWS (1930 - 2006) Strung Out.

Lot 40: BENNY ANDREWS (1930 - 2006) Strung Out.

Estimated Price: Log in or create account to view price data

Description: BENNY ANDREWS (1930 - 2006) Strung Out. Etching and aquatint, 1972. 445x305 mm; 17 1/2x12 inches, full margins. Signed, titled, dated and numbered 14/70 in pencil, lower margin. A very good impression of this scarce print.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
HARTWELL YEARGANS (1915 - 2005) Music Makers.

Lot 41: HARTWELL YEARGANS (1915 - 2005) Music Makers.

Estimated Price: Log in or create account to view price data

Description: HARTWELL YEARGANS (1915 - 2005) Music Makers. Color woodcut on Japan paper, 1971. 248x203 mm; 9 3/4x8 inches, full margins. Signed, titled and numbered 37/100 in pencil, lower margin. A very good impression.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
ROMARE BEARDEN (1911 - 1988) Storyville: Special Request.

Lot 42: ROMARE BEARDEN (1911 - 1988) Storyville: Special Request.

Estimated Price: Log in or create account to view price data

Description: ROMARE BEARDEN (1911 - 1988) Storyville: Special Request. Oil monotype on heavy wove paper, circa 1975. 1055x750 mm; 41 1/2x29 1/2 inches. Arches watermark. Signed in pencil, upper left. Provenance: the estate of Nanette Bearden, the artist's wife. Sharon Patton connected the appearance of the Storyville subject in Bearden's early monotypes and collages to the period shortly after the 1970 MoMA exhibition of Storyville photographs. Prostitutes from New Orleans's red-light district photographed by E. J. Bellocq in the early 20th century were reprinted by the photographer Lee Friedlander from the original glass-plate negatives. Bearden owned a copy of the museum catalogue in his library. Fine pp. 92 -95.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
ROMARE BEARDEN (1911 - 1988) Jazz Musician at Piano.

Lot 43: ROMARE BEARDEN (1911 - 1988) Jazz Musician at Piano.

Estimated Price: Log in or create account to view price data

Description: ROMARE BEARDEN (1911 - 1988) Jazz Musician at Piano. Oil monotype on heavy wove paper, circa 1975. 1055x750 mm; 41 1/2x29 1/2 inches. Arches watermark. Signed in pencil, lower left. Provenance: the estate of Nanette Bearden, the artist's wife. Ruth Fine finds that other forms of New Orleans jazz parlors appeared in Bearden's "cultural memory" in such works as his 1971 collage The Apprencticeship of Jelly Roll Morton. The Of the Blues: Second Chorus series included New Orleans monotypes, including the 1975 New Orleans: Storyville/Ragtime Preparations in the collection of the Metropolitan Museum of Art. A similar 1975 monotype, Perfomer (Pop Singer), is reproduced in the 2009 From Print to Process: Graphic Works by Romare Bearden. Fine p. 95 and 101.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
ROMARE BEARDEN (1911 - 1988) Introduction for a Blues Queen.

Lot 44: ROMARE BEARDEN (1911 - 1988) Introduction for a Blues Queen.

Estimated Price: Log in or create account to view price data

Description: ROMARE BEARDEN (1911 - 1988) Introduction for a Blues Queen. Color lithograph, 1979. 603x902 mm; 23 3/4x35 1/2 inches, full margins. Printer's proof, aside from the edition of 175. Signed and inscribed "P/P" in pencil, lower left. Printed by J.K. Art Editions, Co., New York, with the blind stamp lower left. From the Jazz Series. A very good, bright impression. Gelburd/Rosenberg GG#77.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
ROMARE BEARDEN (1911 - 1988) Jazz Series.

Lot 45: ROMARE BEARDEN (1911 - 1988) Jazz Series.

Estimated Price: Log in or create account to view price data

Description: ROMARE BEARDEN (1911 - 1988) Jazz Series. Group of 6 color lithographs, 1979. Each approx. 603x902 mm; 23 3/4x35 1/2 inches, full margins. Out Chorus (Rhythm Section). Artist's proof, aside from the edition of 175. Signed, inscribed "AP" and numbered 19/30 in pencil, lower right * Introduction for a Blues Queen. Signed and numbered 118/175, lower left * Brass Section. Signed and numbered 158/175 in pencil, lower right * Bopping at Birdland. Signed and numbered 118/175 in pencil, lower left * Tenor Sermon. Signed and numbered 159/175 in pencil, lower left * Louisiana Serenade. Signed and numbered 143/175 in pencil, lower left. Each from the Jazz Series. Very good impressions with strong colors. Gelburd/Rosenberg GG#70, GG#71, GG#72, GG#74, GG#75, GG#77.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
ROMARE BEARDEN (1911 - 1988) Trumpet Player.

Lot 46: ROMARE BEARDEN (1911 - 1988) Trumpet Player.

Estimated Price: Log in or create account to view price data

Description: ROMARE BEARDEN (1911 - 1988) Trumpet Player. Oil monotype on heavy wove paper, circa 1980. 1055x750 mm; 41 1/2x29 1/2 inches. Arches watermark. Signed in pencil, lower left. Provenance: the estate of Nanette Bearden, the artist's wife.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
ROMARE BEARDEN (1911 - 1988) Jamming at the Savoy.

Lot 47: ROMARE BEARDEN (1911 - 1988) Jamming at the Savoy.

Estimated Price: Log in or create account to view price data

Description: ROMARE BEARDEN (1911 - 1988) Jamming at the Savoy. Color etching and aquatint, 1981-82. 418x599 mm; 16 1/2x23 3/8 inches, full margins. Signed, titled and numbered 131/150 in pencil, lower margin. Published by June Kelly Gallery, New York, with the blind stamp lower right. A superb impression with strong, bright colors. Gelburd/Rosenberg GG#95.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
ROMARE BEARDEN (1911 - 1988) Patchwork Quilt.

Lot 48: ROMARE BEARDEN (1911 - 1988) Patchwork Quilt.

Estimated Price: Log in or create account to view price data

Description: ROMARE BEARDEN (1911 - 1988) Patchwork Quilt. Felt tip and color inks on printed graph paper, circa 1970. 152x133 mm; 6x5 1/4 inches. Signed and inscribed "see (?) for patches" in ink, upper margin. Inscribed "take care for leg angles" in ink, lower right. Provenance: acquired directly from the artist; private collection. An excellent, early study for the large 1970 collage of cloth, paper and synthetic polymer, in the collection of the Museum of Modern Art, New York, with intriguing notes by the artist for the enlargement of his design. With--an autographed postcard of the collage, signed in blue ink and felt tip pen.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
ROMARE BEARDEN (1911 - 1988) Homage to Mary Lou.

Lot 49: ROMARE BEARDEN (1911 - 1988) Homage to Mary Lou.

Estimated Price: Log in or create account to view price data

Description: ROMARE BEARDEN (1911 - 1988) Homage to Mary Lou. Color lithograph, 1984. 740x513 mm; 29 1/4x20 1/4 inches, full margins. Arches watermark. Signed and numbered 42/100 in pencil, lower right. Printed by JK Fine Art Editions, New York, with the blind stamp lower left. A very good impression with bright colors. Gelburd/Rosenberg GG#113. This tour-de-force of color lithography reinterprets Bearden's 1983 collage The Piano Lesson with elements of collage and improvisation. Bearden and master printer Joseph Kleineman even added fabric texture from some of the lace embroidery that Bearden had used in making the original. According to Mary Lee Corlett, Homage to Mary Lou is "one of Bearden's most complex lithographs," using 18 colors from 18 different plates. Corlett pp. 26-27.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
ROMARE BEARDEN (1911 - 1988) Back Porch Serenade.

Lot 50: ROMARE BEARDEN (1911 - 1988) Back Porch Serenade.

Estimated Price: Log in or create account to view price data

Description: ROMARE BEARDEN (1911 - 1988) Back Porch Serenade. Collage on masonite, with color inks and pencil, 1977. 153x230 mm; 6x9 inches. Signed in ink, upper left. Provenance: the artist, New York; estate of the artist, New York; E. T. and Auldlyn Williams, New York. Exhibited: ACA Galleries, New York, with the label on the frame back. Back Porch Serenade is an excellent example of Romare Bearden's series of collage recollections of the South from late 1977 through 1978. Myron Schwartzman describes how Bearden, after finishing the Odysseus Collages series that year, began another odyssey of his own based on an idea that Calvin Tomkins used in his 1977 New Yorker profile of Bearden, Putting Something Over Something Else. Bearden set out to create his own visual odyssey "by way of the cities and neighborhoods that had been his ports-of-call: Charlotte, Pittsburgh, Harlem, Paris and Canal Street." In this collage, Bearden revisits a well-traveled subject and composition. As early as 1942, Bearden had painted Folk Musicians as a trio of men. Bearden had made the subject iconic in his important Three Folk Musicians, 1967, Three Men, circa 1966-67, Soul Three, 1968 and in later works such as Three Obeahs, 1984. Schwartzman pp 263-264.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

View additional info and full condition report »
Realized: Log in or create account to view price data
Per page:
1
2
Next »