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African-American Fine Art, American & Contemporary Art & Murano Glass

by Ripley Auctions

Platinum House

192 lots with images

October 27, 2012

Live Auction

2764 E 55th Place

Indianapolis, IN, 46220 USA

Phone: 317 251 5635

Fax: 253 322 5430

Email: sales@antiquehelper.com

192 Lots
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AFRICAN-AMERICAN ART         Will Harvey Hunt, (African-American; b. 1910), Coal Mine, Oil on masonite., 24

Lot 150: AFRICAN-AMERICAN ART Will Harvey Hunt, (African-American; b. 1910), Coal Mine, Oil on masonite., 24" x 18"

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Description: AFRICAN-AMERICAN ART Will Harvey Hunt (African-American; b. 1910) Coal Mine Oil on masonite. Initialed and dated 1940, signed and titled "Coal Mine" verso. Excellent unusual original frame. Born in Indianapolis in 1910, Will Harvey Hunt studied at the John Herron School under William Forsyth, Donald Magnus Mattison, and Henrik Martin Mayer. He exhibited at the Hoosier Salon in 1935, 1936, and 1938. His painting, Tornado won the "Outstanding Picture of the Exhibition" prize (or the John C. Schaffer Prize of $500) in the 1935 show. The same year Hunt won the Mary Milliken Award at the John Herron Art School for The Kitchen. His work can be found in the collection of Northwestern University, Chicago. 24" x 18"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Charles Sebree, (African-American; 1914-1985), The Wide Brim, Oil on masonite, 24

Lot 151: Charles Sebree, (African-American; 1914-1985), The Wide Brim, Oil on masonite, 24" x 18"

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Description: Charles Sebree (African-American; 1914-1985) The Wide Brim Oil on masonite c. 1955. Signed. Titled verso "The Wide Brim". Original frame. Charles Sebree was born in a small town in eastern Kentucky in 1914. At age 10, he moved with his mother to Chicago. He was a prodigy, encouraged from elementary school age to pursue art. Sebree was one of many noted artists to emerge out of Chicago's black arts scene of the 1930s and 1940s. The network of support created through alliances with other artists and affiliations with such institutions as the South Side Community Arts Center and the Art Institute constituted a system through which black artists could forge a career for themselves in a landscape that remained largely hostile to their ambitions. After attending the Art Institute of Chicago, Sebree remained there and interacted with a group of artists centered in Chicago's South Side. Between 1936 and 1938 Sebree worked for the New Deal's Works Progress Administration, participated in the South Side Community Arts Center, and was involved with the Cube Theater. The vitality of Chicago's black arts movement came to rival that of Harlem, and Sebree benefited from the involvement with colleagues such as Margaret Burroughs and Eldzier Cortor. Sebree also maintained a strong interest in the theater due to his friendship with Katharine Dunham, anthropology student and pioneer of modern dance. Guided by her influence, he explored set and costume design, theatrical production, writing, and dance. Upon returning from service in World War II, he settled in New York and later Washington D.C., making his living primarily as a playwright. His work is found in many prominent collections including Howard University, the Smithsonian Institute, the St. Louis Art Museum, and the University of Chicago. 24" x 18"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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William Edouard Scott, (African-American; 1884 - 1964), Backyard, Oil on canvas, 25

Lot 152: William Edouard Scott, (African-American; 1884 - 1964), Backyard, Oil on canvas, 25" x 30"

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Description: William Edouard Scott (African-American; 1884 - 1964) Backyard Oil on canvas c. 1920. Signed. Born in Indianapolis in 1884, William Eduoard Scott became one of the most prolific mural, portrait, and genre artists to emerge from the Harlem Renaissance. Throughout his lifetime he worked steadily to inspire pride within the African-American community so that a better understanding could be achieved between the races. He attended Emmerich Manual Training High School in Indianapolis, and returned here after graduation in 1903 to work as an assistant art teacher. He was, in fact, the first African-American to teach in a public high school in Indianapolis. Here, he received additional drawing instruction from Otto Stark, head of the art department, and also at the John Herron School of Art. In 1904, he left to attend the Art Institute of Chicago. He supported himself with scholarships and prizes, and also by painting murals at public schools in Chicago and the surrounding area and Washington D.C. After graduation and advanced training he traveled to France, the first of three sojourns to Europe between 1909 and 1913. Within this period he met and spent time under the tutelage of Henry O. Tanner, whom he considered a genius, enrolled as a student at the Académie Julian, and had works accepted at the Salon de la Société des Artistes Francais in Paris, only the second African-American after Tanner to do so. He also enrolled in the Colarossi Academy and participated in an exhibition at the Salon de la Société Artistique de Picardie Le Touquet at Paris-Plage. His work here in Europe was focused on French genre scenes, peasant life in particular. Upon his return to Chicago, he began to use racial themes as subject matter coupled with his academic training. Again he was able to support himself with numerous mural and portrait commissions including portraits of Frederick Douglas, Booker T. Washington, and George Washington Carver. He also illustrated several covers for The Crisis, the magazine of the NAACP. The year 1931 ushered in another important period in Scott's life, when he received the Julius Rosenwald Fellowship to study and paint in Port-au-Prince, Haiti. He spent over a year here and completed over 144 works depicting peasant life. As Haiti inspired him to paint, he himself inspired locals to paint and portray local scenes. He was instrumental in the establishment of the Centre d'Art in Port-au-Prince and was recognized by the Haitian government for his contributions to society. Upon his return to the States, he painted and received recognition for numerous murals. In the 1950's, he concentrated mostly upon portraiture. He continued painting until his death in 1964. Throughout his career, he remained true to a realist style and traditional methods of painting, from his years of study in Europe. His work can be found in the collections of the Indianapolis Museum of Art, the Clark Atlanta University Collection of African American Art, the DuSable Museum of African American History, Chicago; Fisk University, Tennessee; and the Amistad Research Center, Louisiana. 25" x 30"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Claude Clark, (African-American; 1915 - 2001), Cabins at Camp, Oil on board, 18

Lot 153: Claude Clark, (African-American; 1915 - 2001), Cabins at Camp, Oil on board, 18" x 24"

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Description: Claude Clark (African-American; 1915 - 2001) Cabins at Camp Oil on board c. 1956. Signed. Provenance: the family of the artist. This painting depicts a YMCA camp in Northern California as the artist remembered it. Claude Clark was born on a tenant farm in Georgia in 1915.He received a four year scholarship to the Philadelphia Museum of Art and studied at the Barnes Foundation. He earned a Bachelor of Arts degree from Sacramento State University and a Masters of Arts degree from the University of California, Berkeley. Clark worked as a printmaker in stone lithography, metal plate intaglio, aquatint, etching and carbograph on the Federal Arts Project of the Works Progress Administration in Philadelphia from 1939-1942. During the Depression, he shared a studio with Raymond Steth and worked closely with carborundum print process inventor, Dox Thrash. He taught at Sacramento State College in 1956, demonstrating how carbographs were made, as well as creating several prints. From 1942 until the early 1960s, Clark did linoleum relief prints for each year, including "New House." Bridging the divide between the Harlem Renaissance and the Black Arts Movement, Clark's paintings generally represent black genre in an effort to construct art of socio-political import. His work, with characteristically basic design and color format, offer easily translatable stories that "mirror societal ideals and values." A number of Claude's paintings from the 1960s are included in the National Afro-American Museum and Cultural Center in Wilberforce, Ohio, an institute which showcases African American Art of the Black Arts Movement. Clark's work can also be found in many public collections including The Saint Louis Art Museum, the Smithsonian Institution, Atlanta University, and the Philadelphia Museum of Art. 18" x 24"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Walter Williams, (African-American; 1920 - 1998), Nocturne, Mixed media (pastel, crayon, wax, sand, colored pencil) on paper laid do...

Lot 154: Walter Williams, (African-American; 1920 - 1998), Nocturne, Mixed media (pastel, crayon, wax, sand, colored pencil) on paper laid do...

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Description: Walter Williams (African-American; 1920 - 1998) Nocturne Mixed media (pastel, crayon, wax, sand, colored pencil) on paper laid down on masonite (original) c. 1960-1970. Signed. Original frame. Painter, printmaker and sculptor, Walter Williams studied art at the Brooklyn Museum Art School under Ben Shahn, Reuben Tam, and Gregoria Prestopino. He also spent a summer studying art at the Skowhegan School of Painting and Sculpture in Maine. In 1955, Williams won a Whitney Fellowship that permitted him to work and travel in Mexico. He also won a National Arts and Letters Grant in 1960 and the Silvermine Award in 1963. Williams moved to Copenhagen, Denmark in the 1960's to escape the discrimination of the United States, While he was in Copenhagen, he created a series of colorful woodcuts of black children playing in fields of flowers. He returned to the United States to serve as artist-in-residence at Fisk University in Nashville, Tennessee. Here he completed a body of work informed by the experiences of being an African American living in the South. Walter H. Williams died in Copenhagen in June 1998. His work is included in the collections of many prominent institutions, including the Whitney Museum of American Art, the Brooklyn Museum, Howard University, and the National Gallery of Arts, Washington D.C. 15 1/4" x 15 3/4"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Hughie Lee-Smith, (African-American; 1915 - 1999), Passage, Oil on canvas, 10

Lot 155: Hughie Lee-Smith, (African-American; 1915 - 1999), Passage, Oil on canvas, 10" x 16"

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Description: Hughie Lee-Smith (African-American; 1915 - 1999) Passage Oil on canvas 1988. Signed and dated. Provenance: the family of the artist. Born in Eustis, Florida in 1915 and raised in both Atlanta and Cleveland, Ohio, Hughie Lee-Smith knew from an early age that art was his mission. His mother encouraged his talent by enrolling him in an art class for gifted students at the Cleveland Museum of Art. At 20, Lee-Smith won a Scholastic magazine competition that allowed him to study at the Art School of the Detroit Society of Arts and Crafts. He also studied art at The Cleveland Institute of Art in 1938 and art education at Wayne State University in 1952 and 1953. He also studied theater and dance. Throughout his career, he taught at several distinguished institutions including the Karamu House, Cleveland in the late 1930's, Princeton Country Day School, NJ, 1963-65, Howard University, Washington D.C., 1969-71, the Art Student's League, NYC, 1972-1987, and elsewhere. In 1938-39, Lee-Smith was employed by the Ohio Works Progress Administraion. At this time, he did a series of lithographic prints and painted murals at the Great Lakes Naval Station in Illinois. The Cleveland Museum recognized him for drawing in 1938 and for lithographs in 1939-40. His early works were shown mostly in Chicago and Detroit, at the Southside Community Center, the Snowdon Gallery, and the Detroit Artist's Market. Hughie Lee-Smith's work was characterized by magic realism and biting social commentary. He often depicted man alone in nature or nature disrupted by man-made objects or architecture. His solitary figures depict loneliness and isolation from society. Despite many accolades and awards thoughout his career, Lee-Smith did not enjoy a major solo exhibition of his work until 50 years after he began painting. His first retrospective was held at the New Jersey State Museum, Trenton in 1988. Just two years before his death, he was featured at the Ogunquit Museum of American Art in Maine. In 1994, he was commissioned to paint the official City Hall portrait of former mayor David Dinkins. He died in Albuquerque, New Mexico in 1999 after a long illness. His work can be found in many major collections including the South Side Community Art Center, Chicago; Howard University; the Detroit Institute of Arts, and Wayne State University. 10" x 16"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Leroy Allen, (African-American; 1958 - 2007), Innocence, Watercolor on paper, 28

Lot 156: Leroy Allen, (African-American; 1958 - 2007), Innocence, Watercolor on paper, 28" x 28"

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Description: Leroy Allen (African-American; 1958 - 2007) Innocence Watercolor on paper 2004-2005. Signed, titled and dated. Exhibited: Stella Jones Gallery, New Orleans, LA Provenance: the family of the artist "I love to paint and draw. It allows me to share with any number of people my God given gift. My favorite subject is the complexity of our human existence, our interaction with nature, our movement, our expressiveness, our determination, our attitudes and our beauty. I don't necessarily look for all of those elements when I paint, but I am aware of their presence. I often find my subjects in very remote locations. I believe that this connection is spiritual, as are aspects of my art." Leroy Allen's innate artistic talents were initially honed by his parents, who supported and encouraged him every step of the way to remain close to art throughout his early youth. When he graduated from high school, Allen worked as a cartoonist for the Progressive Shopper News, a small black-owned monthly newspaper. He earned a bachelor's degree in design from the University of Kansas in 1977 and cultivated a successful career at Hallmark in Kansas City, Missouri. It was at Hallmark where he met a group of talented black artists known as "The Kansas City 6" who inspired him to enroll in painting classes at the Kansas City Art Institute in 1990. From here, in little more than a decade, he went on to show his work on a national level and receive many honors. Allen felt his first real break was winning the Picture Perfect Merit Award in 1995 from the National Oil and Acrylic Painters' Society. Leroy Allen held solo exhibitions at the Stella Jones Gallery, New Orleans, LA and the Robert Frazier Gallery, Kansas City, MO. He participated in group exhibitions at the American Jazz Museum, Kansas City, MO; Hearne Fine Art, Little Rock, AR, and was featured three years in a row in the Black Creativity Art Exhibition at the Museum of Science and Industry (1996, 1997, 1998). Allen participated in the American Watercolor Society's 133rd Annual Exhibition, NY, 2000 and the National Watercolor Society's 78th Annual Exhibition, CA. In particular, Allen's charcoal drawing entitled, "Papa Jim," was featured in the touring exhibition, Southern Journeys, African American Artists of the South. His pastel, "Jairo," received a merchandise award in "Pastel '98", a national juried exhibition sponsored by the Pastel Society of North Florida at the Fort Walton Museum of Art. Allen was also part of the Black Romantic Art Show at the Studio Museum in Harlem, NY, 2002. He was active in The Light In The Other Room, a collaborative of twenty-two, African American Kansas City based artists whose goal is to create positive images of black people. Allen was a noted figurative artist, adept at working in oils, charcoal, watercolors, and pastels. His technical accomplishments allowed him to reveal a greater depth of humanity and character in his subjects. His favorite subjects were young people. "I like the youth, the strength." A particularly poignant moment in his career occurred when the family of one of his youthful subjects attended the exhibition of the painting, "Sundrops," at the Mississippi Museum of Art. Leroy Allen was equally talented in his rendering of landscapes, especially those of his favorite fishing spots. "They are a part of me," he said, "…I see backroads places that most people don't see." Leroy Allen died in 2007. 28" x 28"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

View additional info and full condition report »
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Claude Clark, (African-American; 1915 - 2001), Navajo Boy, Oil on board, 19 3/4

Lot 157: Claude Clark, (African-American; 1915 - 2001), Navajo Boy, Oil on board, 19 3/4" x 16"

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Description: Claude Clark (African-American; 1915 - 2001) Navajo Boy Oil on board c. 1966. Signed and dated. Provenance: the family of the artist. Clark traveled through Arizona and New Mexico and painted this on sight. Claude Clark was born on a tenant farm in Georgia in 1915.He received a four year scholarship to the Philadelphia Museum of Art and studied at the Barnes Foundation. He earned a Bachelor of Arts degree from Sacramento State University and a Masters of Arts degree from the University of California, Berkeley. Clark worked as a printmaker in stone lithography, metal plate intaglio, aquatint, etching and carbograph on the Federal Arts Project of the Works Progress Administration in Philadelphia from 1939-1942. During the Depression, he shared a studio with Raymond Steth and worked closely with carborundum print process inventor, Dox Thrash. He taught at Sacramento State College in 1956, demonstrating how carbographs were made, as well as creating several prints. From 1942 until the early 1960s, Clark did linoleum relief prints for each year, including "New House." Bridging the divide between the Harlem Renaissance and the Black Arts Movement, Clark's paintings generally represent black genre in an effort to construct art of socio-political import. His work, with characteristically basic design and color format, offer easily translatable stories that "mirror societal ideals and values." A number of Claude's paintings from the 1960s are included in the National Afro-American Museum and Cultural Center in Wilberforce, Ohio, an institute which showcases African American Art of the Black Arts Movement. Clark's work can also be found in many public collections including The Saint Louis Art Museum, the Smithsonian Institution, Atlanta University, and the Philadelphia Museum of Art. 19 3/4" x 16"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

View additional info and full condition report »
Realized: Log in or create account to view price data
Hughie Lee-Smith, (African-American; 1915 - 1999), Woman in Red, Oil on canvas., 28

Lot 158: Hughie Lee-Smith, (African-American; 1915 - 1999), Woman in Red, Oil on canvas., 28" x 20"

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Description: Hughie Lee-Smith (African-American; 1915 - 1999) Woman in Red Oil on canvas. 1970. Signed. Provenance: the family of the artist. Born in Eustis, Florida in 1915 and raised in both Atlanta and Cleveland, Ohio, Hughie Lee-Smith knew from an early age that art was his mission. His mother encouraged his talent by enrolling him in an art class for gifted students at the Cleveland Museum of Art. At 20, Lee-Smith won a Scholastic magazine competition that allowed him to study at the Art School of the Detroit Society of Arts and Crafts. He also studied art at The Cleveland Institute of Art in 1938 and art education at Wayne State University in 1952 and 1953. He also studied theater and dance. Throughout his career, he taught at several distinguished institutions including the Karamu House, Cleveland in the late 1930's, Princeton Country Day School, NJ, 1963-65, Howard University, Washington D.C., 1969-71, the Art Student's League, NYC, 1972-1987, and elsewhere. In 1938-39, Lee-Smith was employed by the Ohio Works Progress Administraion. At this time, he did a series of lithographic prints and painted murals at the Great Lakes Naval Station in Illinois. The Cleveland Museum recognized him for drawing in 1938 and for lithographs in 1939-40. His early works were shown mostly in Chicago and Detroit, at the Southside Community Center, the Snowdon Gallery, and the Detroit Artist's Market. Hughie Lee-Smith's work was characterized by magic realism and biting social commentary. He often depicted man alone in nature or nature disrupted by man-made objects or architecture. His solitary figures depict loneliness and isolation from society. Despite many accolades and awards thoughout his career, Lee-Smith did not enjoy a major solo exhibition of his work until 50 years after he began painting. His first retrospective was held at the New Jersey State Museum, Trenton in 1988. Just two years before his death, he was featured at the Ogunquit Museum of American Art in Maine. In 1994, he was commissioned to paint the official City Hall portrait of former mayor David Dinkins. He died in Albuquerque, New Mexico in 1999 after a long illness. His work can be found in many major collections including the South Side Community Art Center, Chicago; Howard University; the Detroit Institute of Arts, and Wayne State University. 28" x 20"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

View additional info and full condition report »
Realized: Log in or create account to view price data
Elizabeth Catlett, (African-American; 1915 - 2012), Black Flag, Bronze, 19

Lot 159: Elizabeth Catlett, (African-American; 1915 - 2012), Black Flag, Bronze, 19" x 5" x 4"

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Description: Elizabeth Catlett (African-American; 1915 - 2012) Black Flag Bronze The original design for "Black Flag" was conceived and executed in cedar in 1970 and is illustrated at p. 21 in the Neuberger Museum Catalog by Lucinda Gedeon, Elizabeth Catlett Sculpture, a Fifty Year retrospective. The casting was executed later at the artist's request. Provenance: Private Collection, Mexico City. Born in Washington D.C., Elizabeth Catlett grew to be an artist best known for her politically charged, black expressionistic sculptures and prints. She attended Howard University where she studied design, printmaking and drawing. In 1940, Catlett became the first student to receive an M.F.A. in sculpture at the University of Iowa School of Art and Art History. Grant Wood instilled in her the idea of working with subjects that she, the artist, knew best. She was inspired to create Mother and Child in 1939 for her thesis. This limestone sculpture won first prize in its category at the American Negro Exposition in Chicago, 1940. From there, she studied ceramics at the Art Institute of Chicago, 1941; lithography at the Art Students League of New York, 1942-43; and with sculptor Ossip Zadkine in New York, 1943. In 1946 Catlett received a Rosenwald Fellowship that allowed her to travel to Mexico City where she studied wood carving with Jose L. Ruiz and ceramic sculpture with Francisco Zuniga. There, she worked with the Taller de Grafica Popular, (People's Graphic Arts Workshop), a group of printmakers dedicated to using their art to promote social change. The TGP inspired her to reach out to the broadest possible audience, which often meant balancing abstraction with figuration. "I learned how you use your art for the service of people, struggling people, to whom only realism is meaningful," she later said of this period. After settling in Mexico and later becoming a Mexican citizen, she taught sculpture at the National Autonomous University of Mexico in Mexico City until retiring in 1975. Ms. Catlett was more concerned with the social dimension of her art than its novelty or originality. "I have always wanted my art to service my people - to reflect us, to relate to us, to stimulate us, to make us aware of our potential." Catlett's work is represented in museums worldwide, including the Museum of Modern Art and the Metropolitan Museum of Art in New York, the Museum of Modern Art in Mexico City and the National Museum in Prague. 19" x 5" x 4"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

View additional info and full condition report »
Realized: Log in or create account to view price data
Leroy Allen, (African-American; 1958 - 2007), Winds of Change, Lithograph, 20

Lot 160: Leroy Allen, (African-American; 1958 - 2007), Winds of Change, Lithograph, 20" x 14"

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Description: Leroy Allen (African-American; 1958 - 2007) Winds of Change Lithograph c. 2003. Signed, dated and numbered 15/40. Provenance: the family of the artist This image was created for the Negro Leagues Baseball Museum in Kansas City. The Kansas City Monarchs was the longest-running franchise of the Negro Leagues. "I love to paint and draw. It allows me to share with any number of people my God given gift. My favorite subject is the complexity of our human existence, our interaction with nature, our movement, our expressiveness, our determination, our attitudes and our beauty. I don't necessarily look for all of those elements when I paint, but I am aware of their presence. I often find my subjects in very remote locations. I believe that this connection is spiritual, as are aspects of my art." Leroy Allen's innate artistic talents were initially honed by his parents, who supported and encouraged him every step of the way to remain close to art throughout his early youth. When he graduated from high school, Allen worked as a cartoonist for the Progressive Shopper News, a small black-owned monthly newspaper. He earned a bachelor's degree in design from the University of Kansas in 1977 and cultivated a successful career at Hallmark in Kansas City, Missouri. It was at Hallmark where he met a group of talented black artists known as "The Kansas City 6" who inspired him to enroll in painting classes at the Kansas City Art Institute in 1990. From here, in little more than a decade, he went on to show his work on a national level and receive many honors. Allen felt his first real break was winning the Picture Perfect Merit Award in 1995 from the National Oil and Acrylic Painters' Society. Leroy Allen held solo exhibitions at the Stella Jones Gallery, New Orleans, LA and the Robert Frazier Gallery, Kansas City, MO. He participated in group exhibitions at the American Jazz Museum, Kansas City, MO; Hearne Fine Art, Little Rock, AR, and was featured three years in a row in the Black Creativity Art Exhibition at the Museum of Science and Industry (1996, 1997, 1998). Allen participated in the American Watercolor Society's 133rd Annual Exhibition, NY, 2000 and the National Watercolor Society's 78th Annual Exhibition, CA. In particular, Allen's charcoal drawing entitled, "Papa Jim," was featured in the touring exhibition, Southern Journeys, African American Artists of the South. His pastel, "Jairo," received a merchandise award in "Pastel '98", a national juried exhibition sponsored by the Pastel Society of North Florida at the Fort Walton Museum of Art. Allen was also part of the Black Romantic Art Show at the Studio Museum in Harlem, NY, 2002. He was active in The Light In The Other Room, a collaborative of twenty-two, African American Kansas City based artists whose goal is to create positive images of black people. Allen was a noted figurative artist, adept at working in oils, charcoal, watercolors, and pastels. His technical accomplishments allowed him to reveal a greater depth of humanity and character in his subjects. His favorite subjects were young people. "I like the youth, the strength." A particularly poignant moment in his career occurred when the family of one of his youthful subjects attended the exhibition of the painting, "Sundrops," at the Mississippi Museum of Art. Leroy Allen was equally talented in his rendering of landscapes, especially those of his favorite fishing spots. "They are a part of me," he said, "…I see backroads places that most people don't see." Leroy Allen died in 2007. 20" x 14"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

View additional info and full condition report »
Realized: Log in or create account to view price data
Leroy Allen, (African-American; 1958 - 2007), Ma'am (Tribute to P.H. Polk), Charcoal and chalk on paper, 39

Lot 161: Leroy Allen, (African-American; 1958 - 2007), Ma'am (Tribute to P.H. Polk), Charcoal and chalk on paper, 39" x 28"

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Description: Leroy Allen (African-American; 1958 - 2007) Ma'am (Tribute to P.H. Polk) Charcoal and chalk on paper 1994. Signed, titled and dated. Provenance: the family of the artist. Exhibited: Stella Jones Gallery, New Orleans, LA Prentice Herman Polk was the official photographer at Tuskegee University from 1939 until 1984. This drawing by Allen was inspired by Polk's photograph titled, The Boss, executed in 1932. Polk photographed notable African-American figures such as George Washington Carver, the Tuskegee Airmen, and boxer Joe Louis. This remarkable drawing shows the influence of the later drawings of Charles White. Both artists were exceptional draftsmen. "I love to paint and draw. It allows me to share with any number of people my God given gift. My favorite subject is the complexity of our human existence, our interaction with nature, our movement, our expressiveness, our determination, our attitudes and our beauty. I don't necessarily look for all of those elements when I paint, but I am aware of their presence. I often find my subjects in very remote locations. I believe that this connection is spiritual, as are aspects of my art." Leroy Allen's innate artistic talents were initially honed by his parents, who supported and encouraged him every step of the way to remain close to art throughout his early youth. When he graduated from high school, Allen worked as a cartoonist for the Progressive Shopper News, a small black-owned monthly newspaper. He earned a bachelor's degree in design from the University of Kansas in 1977 and cultivated a successful career at Hallmark in Kansas City, Missouri. It was at Hallmark where he met a group of talented black artists known as "The Kansas City 6" who inspired him to enroll in painting classes at the Kansas City Art Institute in 1990. From here, in little more than a decade, he went on to show his work on a national level and receive many honors. Allen felt his first real break was winning the Picture Perfect Merit Award in 1995 from the National Oil and Acrylic Painters' Society. Leroy Allen held solo exhibitions at the Stella Jones Gallery, New Orleans, LA and the Robert Frazier Gallery, Kansas City, MO. He participated in group exhibitions at the American Jazz Museum, Kansas City, MO; Hearne Fine Art, Little Rock, AR, and was featured three years in a row in the Black Creativity Art Exhibition at the Museum of Science and Industry (1996, 1997, 1998). Allen participated in the American Watercolor Society's 133rd Annual Exhibition, NY, 2000 and the National Watercolor Society's 78th Annual Exhibition, CA. In particular, Allen's charcoal drawing entitled, "Papa Jim," was featured in the touring exhibition, Southern Journeys, African American Artists of the South. His pastel, "Jairo," received a merchandise award in "Pastel '98", a national juried exhibition sponsored by the Pastel Society of North Florida at the Fort Walton Museum of Art. Allen was also part of the Black Romantic Art Show at the Studio Museum in Harlem, NY, 2002. He was active in The Light In The Other Room, a collaborative of twenty-two, African American Kansas City based artists whose goal is to create positive images of black people. Allen was a noted figurative artist, adept at working in oils, charcoal, watercolors, and pastels. His technical accomplishments allowed him to reveal a greater depth of humanity and character in his subjects. His favorite subjects were young people. "I like the youth, the strength." A particularly poignant moment in his career occurred when the family of one of his youthful subjects attended the exhibition of the painting, "Sundrops," at the Mississippi Museum of Art. Leroy Allen was equally talented in his rendering of landscapes, especially those of his favorite fishing spots. "They are a part of me," he said, "…I see backroads places that most people don't see." Leroy Allen died in 2007. 39" x 28"

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Edward Mitchell Bannister, (African-American; 1828 - 1901), Landscape with Cows, Oil on canvas, 18

Lot 162: Edward Mitchell Bannister, (African-American; 1828 - 1901), Landscape with Cows, Oil on canvas, 18" x 24 3/4"

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Description: Edward Mitchell Bannister (African-American; 1828 - 1901) Landscape with Cows Oil on canvas Signed "E.M. Bannister" Lower Left. Edward Mitchell Bannister (1828-1901) was the first African-American to win major national recognition as an artist. He was born in Canada and served on some Canadian vessels in an unknown capacity before moving to Boston where he worked as a barber while trying to establish a career as a portrait painter. He married Christiana Carteaux, a successful businesswoman who owned several hairdressing salons; the two were active in Boston Abolitionist activities. In 1869 the couple moved to Providence, and in 1876 Bannister was awarded a bronze (first-prize) medal at the Philadelphia Centennial Exposition. He submitted his painting Under the Oaks with no identification other than his signature and later recalled that when he appeared before the awards committee to claim his prize, "an explosion could not have created more of a sensation in that room." Bannister was deeply committed to fostering the development of art in Providence, and along with colleagues George Whitaker and Charles Stetson was a founder of the Providence Art Club. He was an avid sailor and made frequent sketching expeditions along the Southern New England coast aboard his yacht 'Fanchon.' Well-educated and highly spiritual, Bannister was greatly influenced by the French Barbizon school, whose serene view of nature and sympathetic portrayal of laborers coincided with his own belief in "the harmony in all created things." He also admired the work of American painter Washington Allston, and shared similar interests in Biblical and mythological themes. Bannister was largely self-taught as an artist, though he studied briefly with William Rimmer of Boston. Few of his portraits and still lifes survive, and he is best known for his moody, contemplative landscapes and coastal scenes of Rhode Island and southeastern Massachusetts. Bannister was always conscious of his limited formal training and set rigorous technical goals for himself, reportedly destroying his works when they did not please him. As his career progressed, the prominence of both animals and figures in his paintings receded, and his most successful paintings exhibit a masterful handling of atmospheric effects, land, and water. By the end of his career, he had achieved a lush, unencumbered style that captured an acute sense of time, place, and mood. He was generally acknowledged as a painter of "poetic sensibility," a description that is still apt today. 18" x 24 3/4"

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Charles Alston, (African-American; 1907 - 1977), Deserted Barn, Lithograph, 13

Lot 163: Charles Alston, (African-American; 1907 - 1977), Deserted Barn, Lithograph, 13" x 18"

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Description: Charles Alston (African-American; 1907 - 1977) Deserted Barn Lithograph c. 1938. Signed. A wonderful early image and a rare print. Alston made virtually no "editions" of these early prints - they were sometimes unique or only a few were made. Charles Henry "Spinky" Alston was a painter, sculptor, illustrator, muralist, and teacher who lived and worked in Harlem the majority of his life. Born in 1907 in Charlotte, North Carolina, his family relocated to New York after his father's untimely death and his mother's remarriage to Henry Pierce Bearden, Romare Bearden's uncle. He attended Columbia University and Columbia University's Teaching College. It was while there that he began teaching at the Harlem Arts Workshop, founded by Augusta Savage. In 1938, the Rosenwald Fund provided money for Alston to travel to the South, which was his first return there since leaving as a child. His travel with Giles Hubert, an inspector for the Farm Security Administration, gave him access to certain situations and he photographed many aspects of rural life. These photographs served as the basis for a series of genre portraits' depicting southern black life. In 1950, he became the first African-American instructor at the Art Students League. In 1953 he had his first solo exhibition at the John Heller Gallery, and in 1963 he co-founded the artist's collective Spiral with Romare Bearden and Hale Woodruff. Alston's style varied from abstraction to realism as a sculptor, painter, illustrator, and print maker. This diversity reflects influences ranging from Egyptian and Oceanic art to more contemporary artistic styles like Cubism and Abstract Expressionism. His figures characteristically maintain a sculpture like quality derived from his earlier studies in African sculpture. His subjects, however, were derived mainly from the experiences of his life and time. Alston states, "As an artist . . . I am intensely interested in probing, exploring the problems of color, space and form, which challenge all contemporary painters. However, as a black American . . . I cannot but be sensitive and responsive in my painting to the injustice, the indignity, and the hypocrisy suffered by black citizens." His work can be found in the collections of many major institutions, including, the Whitney Museum of American Art, Atlanta University, the Butler Institute, and the Metropolitan Museum of Art. 13" x 18"

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Charles Alston, (African-American; 1907 - 1977), Rockin' n' Rhythm, Lithograph enhanced with pencil. Possibly unique., 5

Lot 164: Charles Alston, (African-American; 1907 - 1977), Rockin' n' Rhythm, Lithograph enhanced with pencil. Possibly unique., 5" x 4"

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Description: Charles Alston (African-American; 1907 - 1977) Rockin' n' Rhythm Lithograph enhanced with pencil. Possibly unique. c. 1938. Signed. Charles Henry "Spinky" Alston was a painter, sculptor, illustrator, muralist, and teacher who lived and worked in Harlem the majority of his life. Born in 1907 in Charlotte, North Carolina, his family relocated to New York after his father's untimely death and his mother's remarriage to Henry Pierce Bearden, Romare Bearden's uncle. He attended Columbia University and Columbia University's Teaching College. It was while there that he began teaching at the Harlem Arts Workshop, founded by Augusta Savage. In 1938, the Rosenwald Fund provided money for Alston to travel to the South, which was his first return there since leaving as a child. His travel with Giles Hubert, an inspector for the Farm Security Administration, gave him access to certain situations and he photographed many aspects of rural life. These photographs served as the basis for a series of genre portraits' depicting southern black life. In 1950, he became the first African-American instructor at the Art Students League. In 1953 he had his first solo exhibition at the John Heller Gallery, and in 1963 he co-founded the artist's collective Spiral with Romare Bearden and Hale Woodruff. Alston's style varied from abstraction to realism as a sculptor, painter, illustrator, and print maker. This diversity reflects influences ranging from Egyptian and Oceanic art to more contemporary artistic styles like Cubism and Abstract Expressionism. His figures characteristically maintain a sculpture like quality derived from his earlier studies in African sculpture. His subjects, however, were derived mainly from the experiences of his life and time. Alston states, "As an artist . . . I am intensely interested in probing, exploring the problems of color, space and form, which challenge all contemporary painters. However, as a black American . . . I cannot but be sensitive and responsive in my painting to the injustice, the indignity, and the hypocrisy suffered by black citizens." His work can be found in the collections of many major institutions, including, the Whitney Museum of American Art, Atlanta University, the Butler Institute, and the Metropolitan Museum of Art. 5" x 4"

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Charles Porter, (African-American; 1847 - 1923), Vegetables, Oil on paper laid down on board (original), 8

Lot 165: Charles Porter, (African-American; 1847 - 1923), Vegetables, Oil on paper laid down on board (original), 8" x 12"

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Description: Charles Porter (African-American; 1847 - 1923) Vegetables Oil on paper laid down on board (original) Singed. Charles Ethan Porter, one of the finest still-life painters in America during the nineteenth century, was the first African American admitted into the National Academy of Design in New York. Porter's meticulous touch and astonishing luminescence testifies to an exceptional talent from any era. Porter's paintings can be seen as methodical and often theatrical studies of his immediate world. His native state Connecticut, proved to be his most powerful muse, from his mother's lustrous garden to the fields and woodlands. Porter's fascination with nature's vegetation and topography provided endless inspiration throughout his career. Porter grew up in Connecticut, moving from Hartford to Rockville, at an early age. After graduating from high school in 1865, he studied art for two years at Wilbraham Wesleyan in Wilbraham, Massachusetts. In 1869, he moved to New York to study at the National Academy of Design in New York, perhaps meeting the well-known landscapists Alfred Pinkham Ryder (1847-1917) and J. Alden Weir (1852-1919), who studied there at that time. Porter also studied with Joseph Oriel Eaton (1829-1875), best known as the teacher of William Merritt Chase (1849-1916). Porter opened a studio in Hartford in 1878, and three years later moved to Paris, arriving with a letter of introduction from Mark Twain. Porter lived in France until 1884, studying at the École des Arts Décoratifs. Porter returned to New York in 1885 and opened a studio in Hartford in 1887. From that time until 1896, he moved back and forth between New York and Connecticut, managing to live off his income as an artist. According to the Hartford Black History Project, Porter shared a studio in Rockville, Connecticut with Bavarian artist Gustave Hoffman, who sold Porter's paintings door-to-door because people would not buy art from a black artist. He died poor and in relative obscurity. In 1987, Connecticut Gallery organized a retrospective, which secured Porter's rightful place into the history of American art. A traveling retrospective of Charles Ethan Porter's work was organized by Hildegard Cummings and the New Britain Museum of American Art in 2008. 8" x 12"

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Fred Jones, (African-American; 1914 - 2004), Oil on canvas, 36

Lot 166: Fred Jones, (African-American; 1914 - 2004), Oil on canvas, 36" x 24"

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Description: Fred Jones (African-American; 1914 - 2004) Oil on canvas c. 1960. Signed. Painter and printmaker, Fred D. Jones, Jr. studied at the Art Institute of Chicago with George Neal, the first African-American to teach at the institute, and also with Eldzier Cortor. He is best known for his numerous paintings of jazz figures, including Louis Armstrong, Lionel Hampton, and Pee Wee Russell. He exhibited at the South Side Community Art Center in Chicago, and widely in the South throughout the 1940's. In 1943, he won the purchase award in 1943 at Atlanta University. Jones worked for a time with Hale Woodruff while in Georgia. He exhibited at Atlanta University, 1942 and 1943; Xavier University, 1963; and the Art Institute of Chicago, 1946-49 and 1951. His work can be found in the collections of Atlanta University and the Evans-Tibbs Collection in Washington D.C. 36" x 24"

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William McBride, (African-American; 1912 - 2000), Musician, Watercolor drawing, 35

Lot 167: William McBride, (African-American; 1912 - 2000), Musician, Watercolor drawing, 35" x 7"

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Description: William McBride (African-American; 1912 - 2000) Musician Watercolor drawing c. 1950. Signed, unframed. Designer, painter, printmaker, and art collector William McBride was born in the Algiers neighborhood of New Orleans, Louisiana in 1912, the second of three children to vaudeville performing parents who later relocated to Chicago. He studied briefly at the Art Institute of Chicago, but it was his own private study with Ivan Albright and Leroy Winbush that informed the style of his work. He found steady work as an artist in 1935 through the WPA, designing posters advertising various cultural events. At this time, McBride joined a small group of young black artists who formed the Art Crafts Guild, a precursor to the South Side Community Center, which has remained a hugely influential center of African-American art. Throughout his lifetime, McBride maintained one of the largest collections of African and African-American art as well as the largest private collection of WPA era art and ephemera. 35" x 7"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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William McBride, (African-American; 1912 - 2000), Mother and Child, Watercolor drawing, 27 1/2

Lot 168: William McBride, (African-American; 1912 - 2000), Mother and Child, Watercolor drawing, 27 1/2" x 6 1/2"

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Description: William McBride (African-American; 1912 - 2000) Mother and Child Watercolor drawing c. 1950. Signed, unframed. Designer, painter, printmaker, and art collector William McBride was born in the Algiers neighborhood of New Orleans, Louisiana in 1912, the second of three children to vaudeville performing parents who later relocated to Chicago. He studied briefly at the Art Institute of Chicago, but it was his own private study with Ivan Albright and Leroy Winbush that informed the style of his work. He found steady work as an artist in 1935 through the WPA, designing posters advertising various cultural events. At this time, McBride joined a small group of young black artists who formed the Art Crafts Guild, a precursor to the South Side Community Center, which has remained a hugely influential center of African-American art. Throughout his lifetime, McBride maintained one of the largest collections of African and African-American art as well as the largest private collection of WPA era art and ephemera. 27 1/2" x 6 1/2"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Irene Clark, (African-American; b. 1927), Watercolor, 20 1/2

Lot 169: Irene Clark, (African-American; b. 1927), Watercolor, 20 1/2" x 13"

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Description: Irene Clark (African-American; b. 1927) Watercolor Painter, designer, and gallery director Irene Clark was born in Washington D.C. and later relocated to Chicago. She studied with the Art Institute of Chicago's 414 Workshop, as well as at the San Francisco Art Institute. An accomplished realistic painter, Clark adopted an expressionistic, and later, naïve approach to painting, drawing particularly from folklore heard and read as a child. She was a member of The African-American Historical and Cultural Society and gallery director of the Exhibit Gallery and Studio, Chicago. Her work can be found in the collections of the Oakland Museum of Art, CA and Atlanta University. 20 1/2" x 13"

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Gus Nall, (African-American; 20th C.), Offering Fruit, Oil on canvas, 30

Lot 170: Gus Nall, (African-American; 20th C.), Offering Fruit, Oil on canvas, 30" x 11"

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Description: Gus Nall (African-American; 20th C.) Offering Fruit Oil on canvas c. 1955. Signed. Gus Nall studied at the Art Institute of Chicago and in Paris. He was particularly influenced by fellow Chicagoans, Eldzier Cortor and Archibald Motley. He was featured in Art Gallery Magazine (1968, "The Afro-American Issue", as well as Carol Myers' Black Power in the Arts. His work, Lincoln Speaks to Freedmen on the Steps of the Capital at Richmond, is in the collection of the DuSable Museum of African-American History. African-American artist who was active in the mid-20th century in Indiana, Ohio, Michigan, and Illinois; listed in Cederholm's Afro-American Artists, A Bio-bibliographical Directory). 30" x 11"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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William McBride, (African-American; 1912 - 2000), Embrace, Watercolor drawing, 32 1/2

Lot 171: William McBride, (African-American; 1912 - 2000), Embrace, Watercolor drawing, 32 1/2" x 10"

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Description: William McBride (African-American; 1912 - 2000) Embrace Watercolor drawing c. 1950. Signed, framed. Designer, painter, printmaker, and art collector William McBride was born in the Algiers neighborhood of New Orleans, Louisiana in 1912, the second of three children to vaudeville performing parents who later relocated to Chicago. He studied briefly at the Art Institute of Chicago, but it was his own private study with Ivan Albright and Leroy Winbush that informed the style of his work. He found steady work as an artist in 1935 through the WPA, designing posters advertising various cultural events. At this time, McBride joined a small group of young black artists who formed the Art Crafts Guild, a precursor to the South Side Community Center, which has remained a hugely influential center of African-American art. Throughout his lifetime, McBride maintained one of the largest collections of African and African-American art as well as the largest private collection of WPA era art and ephemera. 32 1/2" x 10"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Joseph Delaney, (African-American; 1904 - 1991), Reclining Nude, Watercolor drawing, 10 1/2

Lot 172: Joseph Delaney, (African-American; 1904 - 1991), Reclining Nude, Watercolor drawing, 10 1/2" x 8"

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Description: Joseph Delaney (African-American; 1904 - 1991) Reclining Nude Watercolor drawing c. 1930. Signed. Born in Knoxville, Tennessee, in 1904, the son of a Methodist minister and the younger brother of Beauford Delaney. Joseph Delaney moved to New York City in 1930, making his home in Manhattan, where he lived for the next 56 years. He enrolled at the Art Student's League where he studied under Thomas Hart Benton and George Bridgeman. This experience left an indelible impression on Delaney. He committed himself to American Scene painting, though maintained a love for figurative art throughout his career. During the Great Depression, he painted many portraits on commission, was employed by the WPA, and exhibited yearly at the Washington Square Park Outdoor Show. In 1942, he received a Julius Rosenwald grant of $1200 to travel the Eastern seaboard, from Percy Rock, Maine to Charleston, South Carolina. In 1985, Delaney returned to Knoxville, where he was named artist-in-residence at the University of Tennessee, until his death in 1991. His work can be found in the major collections of the Alain Locke Society, Princeton University, Princeton, N.J; Clark Atlanta University, Atlanta, GA; the British American Galleries, New York; Ewing Gallery, University of Tennessee, Knoxville; Harry S. Truman Library and Museum, Independence, MO; The Huntington Hartford Collection, New York; Knoxville Museum of Art, Knoxville, TN; Metropolitan Museum of Art, New York; National Academy of Design, New York; Riverside Museum, New York; Smithsonian Institution, Washington, D.C.; University of Arizona Museum of Art, Tucson; and the Harlem State Office Building Art Collection, New York. 10 1/2" x 8"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Lenard Hinds, (African-American; b. 1951), Portrait of a Woman, Acrylic on canvas, 20

Lot 173: Lenard Hinds, (African-American; b. 1951), Portrait of a Woman, Acrylic on canvas, 20" x 16"

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Description: Lenard Hinds (African-American; b. 1951) Portrait of a Woman Acrylic on canvas Signed. Lenard Hinds is a painter and recording artist in St Louis. He is the music director of the Church of Philadelphia. Hinds became deathly ill in the 1970s, and after receiving what he believed to be divine healing, he dedicated his career to religion. He has exhibited his artwork locally in St Louis and is listed in the St Louis Art Museum's index of St Louis Artists. 20" x 16"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Lenard Hinds, (African-American; b. 1951), Summer Day, Acrylic on canvas, 16

Lot 174: Lenard Hinds, (African-American; b. 1951), Summer Day, Acrylic on canvas, 16" x 20"

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Description: Lenard Hinds (African-American; b. 1951) Summer Day Acrylic on canvas Signed. Lenard Hinds is a painter and recording artist in St Louis. He is the music director of the Church of Philadelphia. Hinds became deathly ill in the 1970s, and after receiving what he believed to be divine healing, he dedicated his career to religion. He has exhibited his artwork locally in St Louis and is listed in the St Louis Art Museum's index of St Louis Artists. 16" x 20"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Fred Jones, (African-American; 1914 - 2004), Aaron, Carved stone sculpture, 11

Lot 175: Fred Jones, (African-American; 1914 - 2004), Aaron, Carved stone sculpture, 11" H

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Description: Fred Jones (African-American; 1914 - 2004) Aaron Carved stone sculpture c. 1947. Signed and dated. Fred Jones worked with Thomas Hart Benton, and this model was the subject of several works by Benton. This is a very early work by the artist, and one of only two sculptures known -- the other, a head made of carved marble. Painter and printmaker, Fred D. Jones, Jr. studied at the Art Institute of Chicago with George Neal, the first African-American to teach at the institute, and also with Eldzier Cortor. He is best known for his numerous paintings of jazz figures, including Louis Armstrong, Lionel Hampton, and Pee Wee Russell. He exhibited at the South Side Community Art Center in Chicago, and widely in the South throughout the 1940's. In 1943, he won the purchase award in 1943 at Atlanta University. Jones worked for a time with Hale Woodruff while in Georgia. He exhibited at Atlanta University, 1942 and 1943; Xavier University, 1963; and the Art Institute of Chicago, 1946-49 and 1951. His work can be found in the collections of Atlanta University and the Evans-Tibbs Collection in Washington D.C. 11" H

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Beni Kosh, (African-American; 1917 - 1993), Abstract Composition, Oil on canvas, 19 3/4

Lot 176: Beni Kosh, (African-American; 1917 - 1993), Abstract Composition, Oil on canvas, 19 3/4" x 15 3/4"

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Description: Beni Kosh (African-American; 1917 - 1993) Abstract Composition Oil on canvas Signed and dated. Born in 1917, Charles Elmer Harris changed his name to Beni E. Kosh in the 1960's. His name translates to "Son of Ethiopia." He was based in Cleveland and studied under Paul Travis at the Cleveland Institute of Art. Kosh was also affiliated with both the Sho-Nuff Art Group and the Karamu House. Kosh rarely exhibited or sold his work while he was alive, indeed his work was "rediscovered" days after his death when hundreds of paintings were rescued, catalogued, and sold. He has been included in shows at Cleveland State University, Butler Institute of American Art, and the Riffe Gallery. He was also featured in the catalog, Yet We Still Rise, African-American Art in Cleveland, 1920-1970. 19 3/4" x 15 3/4"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Norman Lewis, (African-American; 1909 - 1979), Watercolor, 23 1/2

Lot 177: Norman Lewis, (African-American; 1909 - 1979), Watercolor, 23 1/2" x 17 1/2"

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Description: Norman Lewis (African-American; 1909 - 1979) Watercolor c. 1935 Norman Lewis was born in New York City and studied with Augusta Savage at the Savage School of Arts and Crafts (1933) and at Columbia University (c.1933-1935). During the Great Depression, Lewis taught art through the Federal Arts Project at the Harlem Community Arts Center (1936-1939), and later with Elizabeth Catlett and Charles White at the George Washington Carver School. Lewis's work of the late 1930s and early 1940s was predominantly figurative social realism, depicting the lives of the urban black families and workers. In the mid-1940s, Lewis abandoned realism and began to explore abstraction, becoming an important artist of the New York School and Abstract Expressionist movement. By the late 1940s, Lewis was represented by Willard Gallery in New York City and had developed his own personal calligraphic style consisting of fluid forms suggesting groups of figures in activity. In 1955, Lewis received the Carnegie International Award in Painting, making him the first African-American artist to receive this prestigious prize. In 1963, Lewis was a founding member of the Spiral Group, and in 1969, along with Romare Bearden and Ernest Crichlow, founded Cinque Gallery, a downtown gallery dedicated to emerging minority artists. A recipient of a National Endowment for the Arts Grant (1972) and a Guggenheim Memorial Fellowship (1975), Lewis received his first retrospective exhibition in 1976 at the Graduate Center of City College, New York. 23 1/2" x 17 1/2"

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Vincent DaCosta Smith, (African-American; 1929 - 2004), Dispossess, Etching, 4 3/8

Lot 178: Vincent DaCosta Smith, (African-American; 1929 - 2004), Dispossess, Etching, 4 3/8" x 8" (plate)

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Description: Vincent DaCosta Smith (African-American; 1929 - 2004) Dispossess Etching c. 1965. This artist's proof is a rare early edition printed in 1965 (there were later printings--one in 1966, an example of which is in the collection of the Minneapolis Institute of Art; and one in 1994--this example is included in the collection of The Detroit Institute of Art). This series of etchings done by Smith was inspired by the work of Otto Dix. Brooklyn native Vincent Smith documented some of the most compelling events in 20th century America, from the jazz clubs of the New York avant garde music scene, to the burgeoning civil rights movement, and the Black Arts Movement. After a tumultuous youth, Smith found new direction in art, a vocation he completely immersed himself in, both as a student and as a working artist. He took classes at the Brooklyn Museum of Art School and the Art Students League, NY. He traveled to Maine to study on scholarship at the Skowhegan School of Painting and Sculpture. Smith drew inspiration from African-American artist Jacob Lawrence. Smith was especially struck by the composition found in his artworks. In turn, Vincent Smith became very deliberate and conscious of composition in his work as well. His first solo show was held at the Brooklyn Museum Art School Gallery in 1955. Throughout his career, his work had been featured in over 25 one man shows and more than 30 group shows. His work can be found in many private and public collections such as The Art Institute of Chicago, MoMA New York, The National Museum of American Art in Washington D.C., The Museum of Fine Arts in Boston, the Detroit Institute of Arts, and Yale University, New Haven. Smith was a member of the National Conference of Artists; African-American Museum Association; Audubon Society; and the National Society of Painters in Casein and Acrylics. He received awards from the Skowhegan School of Painting and Sculpture, scholarship, 1955; John Hay Whitney Foundation, fellowship, 1959-60; National Institute of Arts and Letters, grant, 1968; American Academy of Arts and Letters, Childe Hassam Purchase Prize, 1973, 1974; National Academy of Design, Thomas B. Clark Prize, 1974. 4 3/8" x 8" (plate)

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Aaron Douglas, (African-American; 1899 - 1979), Emperor Jones, Woodblock prints on Japan paper, 17 1/2

Lot 179: Aaron Douglas, (African-American; 1899 - 1979), Emperor Jones, Woodblock prints on Japan paper, 17 1/2" x 35 1/4" (sheet)

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Description: Aaron Douglas (African-American; 1899 - 1979) Emperor Jones Woodblock prints on Japan paper 1926/1972. Four original woodblock prints signed and titled by the artist, and most likely pulled by Stephanie Pogue of Howard University, on a single sheet. Each print measures 8 x 5.5". The titles of each image in the Emperor Jones Series are Bravado, Defiance, Flight, and Surrender. This series is based on the play The Emperor Jones by Eugene O'Neil. It is thought that the editions of the later printings from Douglas' original blocks were only 15, 15, and 20, and some of these have been cut to hang separately. Aaron Douglas was born in Topeka, Kansas in 1899. He is the American artist most closely associated with the Harlem Renaissance and was known for a signature style that forged elements of African Art with a modern European aesthetic. Shortly after receiving degrees from the University of Nebraska and the University of Kansas, he moved to Harlem, to be a part of Alain Locke's New Negro Movement. There, he studied with Winold Reiss, who encouraged Douglas to introduce African imagery and themes into his paintings, and also flatten his figures and incorporate geometric and Art Deco design elements into his works. Murals and drawings were his primary focus early in his career. He did illustrations for a number of publications, including the Opportunity and The Crisis. Douglas contributed drawings and an essay entitled "The Legacy of the Ancestral Arts" to Alain Locke's 1925 anthology, The New Negroes. In 1934, he was commissioned to do a series of murals at the Countee Cullen Branch of the New York Public Library. The series consists of four chronological compositions highlighting African-American heritage and history. His signature style developed from these murals - a series of concentric circles expanded from a fixed point, figure elements superimposed on its background. The shade of color on the figures was altered in the places where it intersected the circle. The person, or object, would bear several diffused shades of the same color, lending his work a dreamlike quality. These murals were especially noteworthy for their chromatic complexity and sophisticated design. Aaron Douglas received two Rosenwald Fellowships, one in 1931 to study in France and the other in 1938, to tour Haiti and the American South. He was also elected president of the Harlem Artists Guild in 1935 and worked to obtain WPA recognition and support for African-American artists. In 1937, he founded and chaired the Art Department at Fisk University in Nashville, Tennessee, where he remained involved until 1966. He died in Nashville in 1979. His work can be found in the collections of Fisk University, Tennessee; the Corcoran Gallery of Art, Washington D.C.; and the Nelson-Atkins Museum of Art, Kansas City, MO 17 1/2" x 35 1/4" (sheet)

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Columbus Bell, (African-American; 20th C.), Abstract Composition, Oil on masonite, 50

Lot 180: Columbus Bell, (African-American; 20th C.), Abstract Composition, Oil on masonite, 50" x 18"

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Description: Columbus Bell (African-American; 20th C.) Abstract Composition Oil on masonite c. 1950. Identified verso. Columbus Bell exhibited at Dillard University in 1941. He is listed in Cedarholm's 'Afro-American Artists'. 50" x 18"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Lenard Hinds, (African-American; b. 1951), The Greatest, Acrylic on canvas, 30

Lot 181: Lenard Hinds, (African-American; b. 1951), The Greatest, Acrylic on canvas, 30" x 24"

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Description: Lenard Hinds (African-American; b. 1951) The Greatest Acrylic on canvas Signed. Lenard Hinds is a painter and recording artist in St Louis. He is the music director of the Church of Philadelphia. Hinds became deathly ill in the 1970s, and after receiving what he believed to be divine healing, he dedicated his career to religion. He has exhibited his artwork locally in St Louis and is listed in the St Louis Art Museum's index of St Louis Artists. 30" x 24"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Albin Polasek, (1879 - 1965), The Remington Centennial Trophy, Eliphalet Remington II, bronze, Sculpture; 27

Lot 199: Albin Polasek, (1879 - 1965), The Remington Centennial Trophy, Eliphalet Remington II, bronze, Sculpture; 27"H. Mounted on 8 1/2"H w...

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Description: Albin Polasek (1879 - 1965) The Remington Centennial Trophy Eliphalet Remington II, bronze Roman Bronze Works N.Y. foundry stamp to base. ;In 1916 The Remington Arms Company celebrated its 100th year in business. To honor the achievement, the Centennial Commission of the Village of Ilion, New York commissioned the noted sculptor, Albin Polasek, to produce a statue of the company's founder, Eliphalet Remington II. From the clay original were produced 48 bronze statues, and one was sent to the Adjutant General of each state. The plaque on each stated: 'Presented by Citizens of Ilion, New York to Organized Militia of the U.S. for Perpetual Competition.' The original intention was that each statue would be used as an annual trophy to encourage rifle practice and marksmanship by the 'organized militia' of each state, and be awarded annually to a winning rifle team in a special match, known as 'The Remington Centennial Trophy Match.' This offering has been in private hands for 50 years, and makes one of only five known examples in existence. Sculpture; 27"H. Mounted on 8 1/2"H wood base.

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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James Carroll Beckwith, (American; 1852 - 1917), Woman at Piano, Oil on canvas, 13

Lot 200: James Carroll Beckwith, (American; 1852 - 1917), Woman at Piano, Oil on canvas, 13" x 20"

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Description: James Carroll Beckwith (American; 1852 - 1917) Woman at Piano Oil on canvas c. 1880. Born in Missouri, James Carroll Beckwith studied at the Chicago Academy of Design under Conrad Diehl and at the National Academy of Design under Lemuel Wilmarth. He lived abroad for five years, sharing a studio with John Singer Sargent and studying primarily under noted portraitist Emile Carolus-Duran, but also taking drawing courses from Adolphe Yvon at the Ecole des Beaux-Arts. He also visited museums and galleries to study Raphael, Tintoretto, Veronese, Tiepolo, and Velázquez. In 1877, he and Sargent assisted Carolus-Duran with the ceiling decorations for the Palais du Luxembourg. By this time, he had also achieved success at the Paris Salon and a year later exhibited his idealized portrait, The Falconer, at the Paris Exposition Universelle. In 1878 Beckwith returned to New York, teaching at the Art Students League, where he taught from 1878 to 1882 and from 1886 to 1887. As an artist, he concentrated mostly on portraits, figure studies, and detailed renderings of historical monuments, but he never lost his interest in decorative design. In 1893 he executed murals for the Liberal Arts Building at the World's Columbian Exposition in Chicago. Refusing to follow artistic fashion, he remained faithful to his conviction that art should embody the technical refinement of form, color, and expression. The honors he received for his portraiture included awards at the 1887 Paris Salon, and at the Exposition Universelle in 1899 for what is probably his most celebrated work, William Walton (1886), which, according to Carolus-Duran was "the strongest portrait" he had ever seen issued from a New York studio. Beckwith went on to earn medals at the Atlanta and Saint Louis expositions, and a gold medal at Charleston in 1902. Throughout his career, Beckwith was committed to furthering the progress of American artists. He was among the earliest promoters of the Art Guild of New York and served as president of the Free Art League, which sought to educate artists and the public by bringing in original works of art from abroad. As a member of the Artists Fund Society of New York, he worked for the benefit of needy artists and their families. In the spring of 1889, he joined the effort to raise money for the construction of a new building to house the Art Students League, the Society of American Artists, the Architectural League, and the Art Guild. After three years of tireless fundraising, the American Fine Arts Society opened its doors in the fall of 1892; the Art Students League is still housed there today. For the remainder of his career, Beckwith worked unceasingly in his New York studio and spent four years in Italy from 1910 to 1914. He died of a heart attack at the age of sixty-six. 13" x 20"

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Hans Dahl, (1849 - 1937), Hand-colored Lithograph, 6 1/2

Lot 201: Hans Dahl, (1849 - 1937), Hand-colored Lithograph, 6 1/2" x 12" (image)

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Description: Hans Dahl (1849 - 1937) Hand-colored Lithograph Signed in plate LR. 6 1/2" x 12" (image)

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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James Abbott McNeill Whistler, (American 1834-1903), The Punt, etching, Approx. 4 3/4

Lot 202: James Abbott McNeill Whistler, (American 1834-1903), The Punt, etching, Approx. 4 3/4" x 6 1/2".

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Description: James Abbott McNeill Whistler (American 1834-1903) The Punt etching published 1861, 4th State, From Day & Son 1862 in Passages from Modern English Poets, illustrated by the Junior Etching Club. Approx. 4 3/4" x 6 1/2".

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Louis van der Pol, (1896-1982), lady with parasol beach scene, oil on panel, 12

Lot 203: Louis van der Pol, (1896-1982), lady with parasol beach scene, oil on panel, 12" x 15 1/2".

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Description: Louis van der Pol (1896-1982) lady with parasol beach scene oil on panel signed lower left. 12" x 15 1/2".

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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William J. Forsyth, (1854 - 1935), Orientalist portrait of a lady, oil on canvas, 26 1/2

Lot 204: William J. Forsyth, (1854 - 1935), Orientalist portrait of a lady, oil on canvas, 26 1/2" X 19 1/2".

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Description: William J. Forsyth (1854 - 1935) Orientalist portrait of a lady oil on canvas unsigned. Possibly from the Munich series. Provenance: From a private Indianapolis collection. Previously acquired in 1969 from Forsyth's Brown County attorney, and was gifted by Forsyth in return for legal services ca. 1920s. 26 1/2" X 19 1/2".

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Enrico Frattini, (1890 - 1968), Two Italian portraits, oil on canvas

Lot 205: Enrico Frattini, (1890 - 1968), Two Italian portraits, oil on canvas

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Description: Enrico Frattini (1890 - 1968) Two Italian portraits oil on canvas signed.

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Lydia Maria Brewster Hubbard, (1849 - 1911), floral still life, oil on canvas, 22

Lot 206: Lydia Maria Brewster Hubbard, (1849 - 1911), floral still life, oil on canvas, 22" x 31 1/2".

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Description: Lydia Maria Brewster Hubbard (1849 - 1911) floral still life oil on canvas signed and dated '92 lower right. Hubbard was an early member of the still-existent New Haven Paint and Clay Club. She exhibited in the club's charter show in 1900. She was also part of the Laguna Beach, California art circle, spending part of each of her later years in that famous artists' colony. She studied with James Moser and exhibited still life and flower paintings in New Haven at the turn of the 19th and early 20th century. 22" x 31 1/2".

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Giuseppi Falchetti, (Italian; 1843-1918), Watering calfs; late 19th Century large pastoral, oil on wood panel, 28

Lot 207: Giuseppi Falchetti, (Italian; 1843-1918), Watering calfs; late 19th Century large pastoral, oil on wood panel, 28" x 35 1/2".

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Description: Giuseppi Falchetti (Italian; 1843-1918) Watering calfs; late 19th Century large pastoral oil on wood panel unsigned. "G. Falchetti" in pencil on verso. 28" x 35 1/2".

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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William Lowry, (Late 19th Century), Romantic summer landscape at dusk with cows, oil on canvas, 23 1/2

Lot 208: William Lowry, (Late 19th Century), Romantic summer landscape at dusk with cows, oil on canvas, 23 1/2" x 41 3/4".

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Description: William Lowry (Late 19th Century) Romantic summer landscape at dusk with cows oil on canvas signed lower left. 23 1/2" x 41 3/4".

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Maxfield Parrish,

Lot 209: Maxfield Parrish, "Reveries", chromolithograph, 15 1/2" x 23 1/2".

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Description: Maxfield Parrish "Reveries" chromolithograph copyright 1926 M.P. lower right. Original 1" frame. 15 1/2" x 23 1/2".

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Thomas W. Morley, (British; 1859 - 1925), Figures on the beach, scenic Continental watercolor, 16

Lot 210: Thomas W. Morley, (British; 1859 - 1925), Figures on the beach, scenic Continental watercolor, 16" x 22 3/4"

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Description: Thomas W. Morley (British; 1859 - 1925) Figures on the beach scenic Continental watercolor signed and dated 1909 lower right. 16" x 22 3/4"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Hans Berger, (1882 - 1977), Norweigian Fjord, Oil on canvas, 21 1/2

Lot 210A: Hans Berger, (1882 - 1977), Norweigian Fjord, Oil on canvas, 21 1/2" x 31 3/4"

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Description: Hans Berger (1882 - 1977) Norweigian Fjord Oil on canvas Signed lower left. 21 1/2" x 31 3/4"

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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George W. Drew, (1875-1968), Autumn landscape; East Coast, oil on canvas, 20 1/2

Lot 211: George W. Drew, (1875-1968), Autumn landscape; East Coast, oil on canvas, 20 1/2" x 30".

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Description: George W. Drew (1875-1968) Autumn landscape; East Coast oil on canvas signed lower left. 20 1/2" x 30".

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Frederick Polley, (1875 -1957), Gloucester Boat, oil on canvas, 20

Lot 212: Frederick Polley, (1875 -1957), Gloucester Boat, oil on canvas, 20" x 24".

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Description: Frederick Polley (1875 -1957) Gloucester Boat oil on canvas signed lower left. 20" x 24".

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Sam Peter Rolt Triscott, (Maine/Massachusetts; 1846 - 1925), Coastal landscape scene; figures repairing a sailboat, Watercolor

Lot 213: Sam Peter Rolt Triscott, (Maine/Massachusetts; 1846 - 1925), Coastal landscape scene; figures repairing a sailboat, Watercolor

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Description: Sam Peter Rolt Triscott (Maine/Massachusetts; 1846 - 1925) Coastal landscape scene; figures repairing a sailboat Watercolor signed lower left.

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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W.A. Eyden Jr., (1893-1982), Sailboats in the Harbor, oil on canvas, 24

Lot 214: W.A. Eyden Jr., (1893-1982), Sailboats in the Harbor, oil on canvas, 24" x 30".

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Description: W.A. Eyden Jr. (1893-1982) Sailboats in the Harbor oil on canvas signed lower left. 24" x 30".

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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Two oil on board landscapes by W.A. Eyden;

Lot 215: Two oil on board landscapes by W.A. Eyden;

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Description: Two oil on board landscapes by W.A. Eyden; Indiana autumn birch trees forest interior, 12" x 13", and forest interior with stream, 19 1/2" x 23". SLL.

Condition Report: Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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