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Lots related to ALBUM%20AMERICAN%20POLITICIANS%20Autograph%20album for sale at auction

(49 lots returned )

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DESIGNER UNKNOWN. CARIBBEAN / PAN AMERICAN. 42x28 inches, 106x71 cm.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $800 - $1,200

Description: DESIGNER UNKNOWN CARIBBEAN / PAN AMERICAN. 42x28 inches, 106 3/4x71 cm. Condition A-: repaired tear at top edge; minor abrasions at edges.

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LOWEREE (DATES UNKNOWN). BERMUDA / VIA PAN AMERICAN. Circa 1950. 42x28 inches, 106x71 cm.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $600 - $900

Description: LOWEREE (DATES UNKNOWN) BERMUDA / VIA PAN AMERICAN. Circa 1950. 42x28 inches, 106 1/2x71 cm. Condition B: tears, losses and skinning at edges; creases and abrasions in margins and image. Paper.

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LOWEREE (DATES UNKNOWN). BERMUDA / FLY NOW. . . PAY LATER / VIA PAN AMERICAN. Circa 1950s. 41x28 inches, 106x71 cm.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $700 - $1,000

Description: LOWEREE (DATES UNKNOWN) BERMUDA / FLY NOW. . . PAY LATER / VIA PAN AMERICAN. Circa 1950s. 41 3/4x28 1/4 inches, 106x71 3/4 cm. Condition B+: creases and abrasions in margins and image; losses in image.

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DESIGNER UNKNOWN. GRACE LINE / CARIBBEAN • SOUTH AMERICAN CRUISES. 1961. 42x27 inches, 106x70 cm.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $500 - $750

Description: DESIGNER UNKNOWN GRACE LINE / CARIBBEAN • SOUTH AMERICAN CRUISES. 1961. 42x27 3/4 inches, 106 3/4x70 1/2 cm. Condition B+: repaired tears, creases and restoration in margins and image.

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DESIGNER UNKNOWN. BUY AMERICAN / AND MAKE JOBS FOR AMERICA'S WORKMEN. 1933. 22x14 inches, 55x35 cm. H.H. Tuttle, Pittsburgh.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $500 - $750

Description: DESIGNER UNKNOWN BUY AMERICAN / AND MAKE JOBS FOR AMERICA'S WORKMEN. 1933. 22x14 inches, 55 1/2x35 1/2 cm. H.H. Tuttle, Pittsburgh. Condition A-: minor tears and creases at edges. Printed on card.

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DESIGNER UNKNOWN. LEND YOUR MONEY TO YOUR GOVERNMENT / SECOND LIBERTY LOAN. 1917. 36x48 inches, 91x122 cm. American Lithographic Co., N

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $700 - $1,000

Description: DESIGNER UNKNOWN LEND YOUR MONEY TO YOUR GOVERNMENT / SECOND LIBERTY LOAN. 1917. 36x48 inches, 91 1/2x122 cm. American Lithographic Co., New York. Condition B: repaired tear at right edge through central image; tears and creases in margins and image; losses at edges; tape on verso; pin holes in corners. Paper. Theofiles 130.

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JAMES MONTGOMERY FLAGG (1870-1960). SIDE BY SIDE - BRITANNIA! / BRITAIN'S DAY. 1918. 30x20 inches, 76x51 cm. American Lithographic Co.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $700 - $1,000

Description: JAMES MONTGOMERY FLAGG (1870-1960) SIDE BY SIDE - BRITANNIA! / BRITAIN'S DAY. 1918. 30x20 inches, 76x51 cm. American Lithographic Co., New York. Condition B+: repaired tears and restored losses at edges; creases in margins and image. Flagg p. 76, Rawls p. 268, Borkan p. 169.

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DESIGNER UNKNOWN. OUR AMERICAN BOYS IN THE EUROPEAN WAR. 1916. 80x80 inches, 203x205 cm.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $1,000 - $1,500

Description: DESIGNER UNKNOWN OUR AMERICAN BOYS IN THE EUROPEAN WAR. 1916. 80x80 3/4 inches, 203 1/4x205 cm. Condition B: restored losses, repaired tears, creases, abrasions and overpainting in margins and image and along vertical and horizontal folds. Six-sheets, attached, on two separate halves.

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VARIOUS ARTISTS. [THINK AMERICAN INSTITUTE.] Group of 3 posters. Circa 1943. Each 27x20 inches, 68x50 cm. Kelly-Read & Co, Rochester.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $500 - $750

Description: VARIOUS ARTISTS [THINK AMERICAN INSTITUTE.] Group of 3 posters. Circa 1943. Each 27x20 inches, 68 1/2x50 3/4 cm. Kelly-Read & Co, Rochester. Condition varies, generally A- / B+. Paper. Group includes: Keep Working to Keep Him Winning; Armistice Day; and Sons, Brothers, Husbands, Pals.

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DESIGNER UNKNOWN. VICTORY FOR THE AMERICAN WAY. 1942. 27x20 inches, 68x50 cm. Kelly-Read & Co, Rochester.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $800 - $1,200

Description: DESIGNER UNKNOWN VICTORY FOR THE AMERICAN WAY. 1942. 27x20 inches, 68 1/2x50 3/4 cm. Kelly-Read & Co, Rochester. Condition B+: tears and abrasions in upper left corner; creases in margins and image. Paper. "A group of Rochester industrialists . . . were concerned about the mental sabotage of their workers by the infiltration of subversive propaganda from outside their plants . . . Out of this problem our company developed what is known as the 'Think American' program. It is now in use in over 5,000 of the largest industrial, business, financial, and educational organizations in nearly every state. 'Think American' consists of weekly illustrated messages, each of which points up vividly and intelligently a virtue or advantage of the American way of life. Plants display these posters near time clocks, in restrooms, and at other points of heaviest employee traffic. In these days when we are doing everything in our power to speed material preparedness and to prevent material sabotage, the need for mental preparedness and the prevention of mental sabotage cannot be overlooked. 'Think American,' we feel, is helping to do both of these jobs. Its messages are now reaching 7 million people weekly throughout the nation" (The Rotarian, September 1941, p. 3-4).

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C.R. MILLER (DATES UNKNOWN). [THINK AMERICAN INSTITUTE.] Group of 3 posters. Circa 1943. Each 27x20 inches, 68x50 cm. Kelly-Read & Co,

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $500 - $750

Description: C.R. MILLER (DATES UNKNOWN) [THINK AMERICAN INSTITUTE.] Group of 3 posters. Circa 1943. Each 27x20 inches, 68 1/2x50 3/4 cm. Kelly-Read & Co, Rochester. Condition varies, generally A- / B+. Paper. Group includes: What Have You Done Today for Victory?; Today's Production is Tomorrow's Enemy Destruction; and If Each of us Figured Out Our "Little Bit" Didn't Count...

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VARIOUS ARTISTS. [THINK AMERICAN INSTITUTE.] Group of 3 posters. Circa 1943. Each 27x20 inches, 68x50 cm. Kelly-Read & Co, Rochester.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $500 - $750

Description: VARIOUS ARTISTS [THINK AMERICAN INSTITUTE.] Group of 3 posters. Circa 1943. Each 27x20 inches, 68 1/2x50 3/4 cm. Kelly-Read & Co, Rochester. Condition varies, generally A- / B+. Paper. Group includes: Our Country was Built...; And if our Lines Should Form and Break; and Keep Working to Keep Him Winning.

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SAMELLA LEWIS (1924 -  ) Washerwoman.

by Swann Auction Galleries

2015

USA

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

Description: SAMELLA LEWIS (1924 - ) Washerwoman. Gouache on cream wove paper, circa 1949. 279x229 mm; 11x9 inches. Signed in pencil, lower left. Provenance: the estate of Dr. Maya Angelou. Painted during her graduate study at Ohio State University, this work is representative of Dr. Samella Lewis' interest in color and portraiture. In 1949, Dr. Lewis lived with relatives in the Bayou Teche region of Louisana painting portraits of them and workers from the sugarcane fields. In 1951 Dr. Lewis became the first African-American woman to receive doctoral degrees in both fine art and art history. Dr. Lewis taught at a number of institutions, most notably at Scripps College from 1969-1984. She is the author of the first and one of the most widely used textbooks on African-American art history, African-American Art and Artists, and significant monographs on artists Elizabeth Catlett and Richmond Barthé. In addition, Dr. Lewis has curated a number of exhibitions including Contemporary African-American Artists: 1980-1994 at The National Arts Club, which featured works on loan from the collection of Dr. Angelou. In 2007, Scripps College instituted the Samella Lewis Collection of Contemporary Art in honor of Dr. Lewis. Lewis pp. 16-20.

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VARIOUS ARTISTS. [FRENCH TRAVEL.] Group of 5 posters. Sizes vary.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $1,000 - $1,500

Description: VARIOUS ARTISTS [FRENCH TRAVEL.] Group of 5 posters. Sizes vary. Condition varies, generally B+. Group includes: Trouville / Beach Casino; To Paris / Pan American; Téléphérique du Béout / Lourdes; Route des Pyrenees; and Beaulieu.

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FRANK BRANGWYN (1867-1956). HELP YOUR COUNTRY STOP THIS / ENLIST IN THE NAVY. Circa 1917. 62x78 inches, 157x199 cm. American Lithograph

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $1,000 - $1,500

Description: FRANK BRANGWYN (1867-1956) HELP YOUR COUNTRY STOP THIS / ENLIST IN THE NAVY. Circa 1917. 62x78 1/2 inches, 157 1/2x199 1/2 cm. American Lithographic Co., New York. Condition B+: repaired tears, restored losses and overpainting at edges, some affecting image; creases and abrasions in margins and image; vertical and horizontal folds. Two-sheets. A masterfully designed and printed lithograph portraying the survivors of a U-boat attack in their lifeboat, struggling against the raging sea. That Brangwyn chose a monochromatic scheme and such a large format only intensifies the emotion expressed by the image, lending it an air of reality, desperation and grit. One of only two posters Brangwyn produced in America during the war. Rawls p. 80, Theofiles 50.

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ALBERT STERNER (1863-1946). U.S. NAVY / OVER THERE. 1917. 59x40 inches, 150x102 cm. American Lithographic Co., New York.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $700 - $1,000

Description: ALBERT STERNER (1863-1946) U.S. NAVY / OVER THERE. 1917. 59x40 1/4 inches, 150x102 cm. American Lithographic Co., New York. Condition B+: repaired tears at edges, some affecting image; overpainting and restoration in margins. In 1917, George M. Cohan composed the song that more than any other would become the anthem for the First World War: "Over There." Using the song's title, Sterner depicts a somber, strong image of Columbia, sword in hand, beneath the billowing stars and stripes, and a sky filled with curls of smoke emanating from the ships of the Navy. She is pointing a sailor to the distant shores of Europe. Rawls p. 80, Theofiles 49, Navy 2.

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KARL KOEHLER (1913-2000) AND VICTOR ANCONA (1912-1998). THIS IS THE ENEMY. 1942. 34x23 inches, 86x60 cm. Grinnell Lithographic Co., New

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $3,000 - $4,000

Description: KARL KOEHLER (1913-2000) AND VICTOR ANCONA (1912-1998) THIS IS THE ENEMY. 1942. 34x23 3/4 inches, 86 1/2x60 1/4 cm. Grinnell Lithographic Co., New York. Condition B: overpainting in margins, image and text; restored losses in margins; repaired tears, creases and restoration in margins and image and along vertical and horizontal folds; repaired pin holes in corners. This chilling image was the winner of the National War Poster Competition of 1942, held under the auspices of the Museum of Modern Art. American 67, The Modern Poster 193, The Modern American 55, Avant Garde p. 177, Rhodes p. 168.

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RON L. HAEBERLE (1941- ). Q. AND BABIES? A. AND BABIES. 1970. 25x38 inches, 63x96 cm. Art Workers Coalition, [New York.]

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $700 - $1,000

Description: RON L. HAEBERLE (1941- ) Q. AND BABIES? A. AND BABIES. 1970. 25x38 inches, 63 1/2x96 1/2 cm. Art Workers Coalition, [New York.] Condition A: minor creases in margins. Paper. American Style 79, Images of an Era 134, Power of the Poster 125, Cold War p. 80-1, War Posters 29.

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FLORENCE LUNDBORG (1871-1949). THE LARK FOR MAY / THE OREAD. 1896. 23x13 inches, 60x35 cm.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $1,200 - $1,800

Description: FLORENCE LUNDBORG (1871-1949) THE LARK FOR MAY / THE OREAD. 1896. 23 3/4x13 3/4 inches, 60 1/4x35 cm. Condition A. Hinged to mat at top edge. Paper. Matted and framed. American Posters no. 49, Kiehl 120, Margolin p. 133, Resnick 4, Salmagundi p. 18, Met 57.627.6(3).

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CLARENCE COLES PHILLIPS (1880-1927). LIGHT CONSUMES COAL. Circa 1918. 28x20 inches, 71x52 cm. Edwards & Deutsch Litho Co. Chicago.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $2,000 - $3,000

Description: CLARENCE COLES PHILLIPS (1880-1927) LIGHT CONSUMES COAL. Circa 1918. 28x20 1/2 inches, 71x52 cm. Edwards & Deutsch Litho Co. Chicago. Condtiion B+: losses in left corners; water staining in image and text; tears at edges; creases in margins and image. Paper. In what is perhaps the most "artistic" of the American World War I posters, Phillips unites the bold, direct elements of German object posters by artists such as Lucien Bernhard with the intricate swirls and patterns of American Art Nouveau in the style of William Bradley. Interestingly, while it may echo the work of European artists (specifically a 1907 image by Peter Behrens featuring a light bulb), the poster represents a drastic divergence from Phillips' usual style. He was nationally known for his "fadeaway girls," which graced the covers of LIFE magazine from 1908 onward. These images featured attractive young women whose clothing was the same color as the background, forcing the viewers to complete the image with their imagination. Rawls p. 20, Modern American 28, Darracott p. 36, Theofiles 79.

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NORMAN ROCKWELL (1894-1978). [THE FOUR FREEDOMS.] Group of 4 posters. 1943. Each 55x39 inches, 141x100 cm. U.S. Government Printing Off

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $3,000 - $4,000

Description: NORMAN ROCKWELL (1894-1978) [THE FOUR FREEDOMS.] Group of 4 posters. 1943. Each 55 1/2x39 1/2 inches, 141x100 1/4 cm. U.S. Government Printing Office, [Washington, D.C.] Condition varies, generally A-: folded as issued. Paper. On January 6, 1941, President Franklin Delano Roosevelt addressed the United States Congress on the escalating threat to American security caused by the war raging in Europe. In this now famous "Four Freedoms" speech, Roosevelt encouraged America to step up war production and put the nation in the mindset for the inevitable involvement in the war. Toward this end, he illuminated America's lofty goal: "In future days which we seek to make secure, we look forward to a world founded on four essential human freedoms." Norman Rockwell, whose prolific work for The Saturday Evening Post had already captured the hearts of Americans, took these four freedoms and deftly pictured them in his classic style. Originally, Rockwell's sketches based on his Vermont neighbors were turned down by the OWI. It wasn't until after these images appeared on four covers of The Saturday Evening Post in February and March 1943, that the Government realized their value, took the original paintings on tour, and turned the images into posters. The resulting powerful combination of words and images were successfully used by the government to raise money for the war effort. Printed in three sizes, these are the scarcer, largest format. American Style p. 132, Posters for Victory p. 40ff, Design for Victory p. 37, War Posters 210, Nelson p. 48, Judd 7.1, IWM II p.52.

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JOSEPH PENNELL (1857-1926). THAT LIBERTY SHALL NOT PERISH FROM THE EARTH / BUY LIBERTY BONDS. 1918. 41x28 inches, 104x71 cm. Heywood St

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $700 - $1,000

Description: JOSEPH PENNELL (1857-1926) THAT LIBERTY SHALL NOT PERISH FROM THE EARTH / BUY LIBERTY BONDS. 1918. 41x28 1/4 inches, 104x71 3/4 cm. Heywood Strasser & Voigt Litho. Co., New York. Condition B+: minor tears at edges; creases in margins and image and along horizontal fold; pin holes in corners. Paper. Several variations of the poster exist, both in size and color. Rawls p. 227, Paret 103, IWM p. 47, American Style 61, Darracott 35, Theofiles 161, Borkan 109, Rickards 61.

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EDWARD PENFIELD (1866-1925). THE GIRL ON THE LAND SERVES THE NATION'S NEEDS / APPLY Y.W.C.A. 25x30 inches, 63x76 cm. The United States

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $700 - $1,000

Description: EDWARD PENFIELD (1866-1925) THE GIRL ON THE LAND SERVES THE NATION'S NEEDS / APPLY Y.W.C.A. 25x30 inches, 63 1/2x76 cm. The United States Printing & Lithograph Co., New York. Condition B+: repaired tears in margins, some into text and image; creases in margins and image; time-staining in top margin. Borkan 164, Theofiles 211, American Style 63.

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DESIGNER UNKNOWN. IT'S A LONG WAY TO ROME. Circa 1943. 46x31 inches, 116x79 cm.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $700 - $1,000

Description: DESIGNER UNKNOWN IT'S A LONG WAY TO ROME. Circa 1943. 46x31 1/4 inches, 116 3/4x79 1/2 cm. Condition B+: repaired tears at edges, some affecting image; abrasions and restoration along vertical and horizontal folds and in margins and image. German propaganda aimed at showing "British and American troops in Italy that their advance had been considerably slower than a snail's" (Zeman p. 24). This is the smaller of two formats. Zeman p. 25, Weill 513, Rhodes 197.

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RICHARD YARDE (1939 - 2011) Portrait of Dr. Maya Angelou.

by Swann Auction Galleries

2015

USA

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Description: RICHARD YARDE (1939 - 2011) Portrait of Dr. Maya Angelou. Watercolor, 1985. 610x406 mm; 24x16 inches. Signed, dated and inscribed "To Maya - Marcus, Owen, Susan and Richard" in pencil, lower margin. Provenance: acquired directly from the artist; the estate of Dr. Maya Angelou. Boston artist Richard Yarde was celebrated nationally for his large-scale, daring watercolors. In paintings such as his Savoy Ballroom series, Yarde's colorful imagery and quilt-like compositions of dancers and jazz musicians reflect memories of his youth and African-American culture. Many of his watercolors are found today in many museum collections, including the Metropolitan Museum of Art, New York, the Museum of Fine Arts, Boston, and the National Museum of American Art, Smithsonian Institution, Washington, DC. Yarde also had a long career in the Boston area as an art professor - teaching at Boston University, Wellesley College, Amherst College, the Massachusetts College of Art, Mount Holyoke College and the University of Massachusetts, Boston and Amherst.

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CHARLY

by Swann Auction Galleries

2015

USA

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Description: CHARLY "CARLOS" PALMER (1960 - ) His Story. Acrylic and collage on cotton canvas, circa 2008. 610x762 mm; 24x30 inches. Signed in acrylic, lower right. Provenance: the estate of Dr. Maya Angelou. Atlanta artist Charly Palmer has developed a national following for his figurative painting that integrates collaged elements with painted figurative images of African-American history and culture. Born in Alabama and raised in Wisconsin, Charly Palmer studied art and design at the American Academy of Art and the School of the Art Institute, both in Chicago. After a successful career as a graphic designer and illustrator, Palmer developed a distinctive graphic style in his fine art. His Story is a very good example from popular Civil Rights series. Today his artwork is found in many private and public collections including Atlanta Life Insurance, McDonald's Corporation, Miller Brewing Company, the Coca Cola Company and Vanderbilt University. The artist also has been the recipient of significant commissions including an official poster for the 1996 Olympics and the Atlanta Convention and Visitors Bureau.

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MAXFIELD PARRISH (1870-1966). SCRIBNER'S FICTION NUMBER. AUGUST. 1897. 19x14 inches, 50x36 cm.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $3,000 - $4,000

Description: MAXFIELD PARRISH (1870-1966) SCRIBNER'S FICTION NUMBER. AUGUST. 1897. 19 3/4x14 1/2 inches, 50 1/4x36 3/4 cm. Condition B+: restored loss and repaired tears in margins, some affecting image and text; creases and abrasions in margins and image. Hinged to mat at top edge. Paper. Matted and framed.. Most famous for his children's book illustrations, Parrish was nonetheless a "remarkable draughtsman, who energetically and successfully mixed fantasy and reality to create a luminous dreamworld that, for all its strangeness, is precisely rendered" (Parrish intro). He studied art at the Pennsylvania Academy of Fine Arts, and then at the Drexel Institute under Howard Pyle. His posters were more illustrative and detailed than those of Edward Penfield and Will Bradley, and marked by what Charles Hiatt referred to as "curious individuality." The concept of a lush imaginary landscape was part of what made his work so desirable. Kiehl 135, Margolin 55, Keay p. 22, DFP-I pl. XIX and 316, American Posters p. 9 no. 56, The American Poster p. 14, Crystal Palace 697, Art of Parrish 632 (var), Weill p. 112.

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ETHEL REED (1876-1912). IS POLITE SOCIETY POLITE / AND OTHER ESSAYS BY MRS. JULIA WARD HOWE. 1895. 17x25 inches, 44x63 cm. Lamson, Wolf

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $1,200 - $1,800

Description: ETHEL REED (1876-1912) IS POLITE SOCIETY POLITE / AND OTHER ESSAYS BY MRS. JULIA WARD HOWE. 1895. 17 1/2x25 inches, 44 1/2x63 1/2 cm. Lamson, Wolffe, & Co., Boston. Condition B+: restored loss in lower left corner; repaired tears at edges, some affecting image creases and restoration in margins and image. Hinged to mat at top edge. Paper. Matted and framed. William Clemens wrote in The Poster, March, 1896, "No production by Miss Ethel Reed has been praised more highly than [this poster] . . . this is a purely decorative piece of work, but well drawn and very effective. It is lithographed on imported handmade paper, red in color, and printed in olive, green and black. It is truly a work of art" (p. 37). Kiehl 240, DFP-I 422, Reims 1286, American Posters no. 85, The American Poster p. 25, Salmagundi p. 25.

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HOWARD CHANDLER CHRISTY (1873-1952). IF YOU WANT TO FIGHT! / JOIN THE MARINES. 1915. 40x30 inches, 101x76 cm.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $2,000 - $3,000

Description: HOWARD CHANDLER CHRISTY (1873-1952) IF YOU WANT TO FIGHT! / JOIN THE MARINES. 1915. 40x30 inches, 101 1/2x76 1/4 cm. Condition B+: tears, creases and abrasions in margins and image and along vertical and horizontal folds; pin holes in corners. Paper. An early sexy, taunting and daring recruitment poster, done two years before the United States entered World War I. The artist plays upon "the confusion of genders [that] provided posters with provocative images like this . . . whose purpose is the seduction of men into service" (Paret p. 64). Rawls p. 249, Paret 89, Theofiles 66, Borkan p. 39, American Style 64.

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LOUIS FANCHER (1884-1944). OVER THERE! / IN THE AIR SERVICE. Circa 1918. 40x30 inches, 101x76 cm. Ketterlinus, Philadelphia.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $800 - $1,200

Description: LOUIS FANCHER (1884-1944) OVER THERE! / IN THE AIR SERVICE. Circa 1918. 40x30 inches, 101 1/2x76 1/4 cm. Ketterlinus, Philadelphia. Condition B+: tears and creases in margins and image and along vertical and horizontal folds; pin holes in corners. Paper. On May 24, 1918, President Wilson removed responsibility for American military aviation from the Signal Corps and placed it within two agencies under the supervision of the U.S. Army: the Bureau of Aircraft Production and the Division of Military Aeronautics. These two branches were officially recognized as the U.S. Army Air Service. Rawls p. 175.

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WILLIAM DODGE STEVENS (1870-1942). TEAMWORK BUILDS SHIPS. Circa 1918. 35x48 inches, 89x123 cm. Forbes, Boston.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $800 - $1,200

Description: WILLIAM DODGE STEVENS (1870-1942) TEAMWORK BUILDS SHIPS. Circa 1918. 35x48 1/2 inches, 89x123 cm. Forbes, Boston. Condition B+ / B: repaired tears, restored losses, abrasions and overpainting in margins; minor creases and restoration in image. Emphasizing "concentrated human energy" (Paret p. 80), this poster embodies American industrial power in its rawest form. Issued by the U.S. Shipping Board, the image is a precursor to the industrial photographs of the following decade, in which work by Lewis Hine and Margaret Bourke-White captured the same intensity and power within the factories of America. Rawls p. 76, Paret 114, Theofiles 256, Borkan p. 53.

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SYDNEY LAURENCE (1865-1940). ALASKA / NORTHERN PACIFIC. Circa 1931. 40x29 inches, 101x75 cm.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $800 - $1,200

Description: SYDNEY LAURENCE (1865-1940) ALASKA / NORTHERN PACIFIC. Circa 1931. 40x29 1/2 inches, 101 1/2x75 cm. Condition A-: minor restored loss in upper left corner; creases and minor restoration in margins. Originally distributed on request, this poster came with a printed explanation by Mary Lee Davis, "Potlach means giving - in the Chinook jargon of the Northwest coast - and to the Northwest Indian peoples, a potlach is a festival of giving to which one's family, neighbors, friends or even whole tribes are summoned, from far and near . . . The magnificent cedar boats of our Haida and Thlingit Indians . . . are among the most perfect treasures of American-Indian craft. [They were] worked out from giant cedar trunks by charring and chipping, sometimes nearly 100 feet in length." Zega 107 (var).

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H.R. HOPPS (1869-1937). DESTROY THIS MAD BRUTE / ENLIST. Circa 1917. 42x28 inches, 106x71 cm.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $15,000 - $20,000

Description: H.R. HOPPS (1869-1937) DESTROY THIS MAD BRUTE / ENLIST. Circa 1917. 42x28 inches, 106 3/4x71 cm. Condition B+: expertly repaired tear through image; minor water stains in left margin; repaired tears and wrinkling at edges; restoration in upper right corner. "One of the most striking American posters issued during the war" (Picture This p. 68), this fantastic World War I recruitment poster distills the horrors of a German invasion of America into a savage, primitive, sexually charged theme. A red-tongued and drooling gorilla, whose helmet reads "Militarism," is clutching a desperate maiden with her dress torn off in one paw and a bloody club, reading 'kultur,' in the other. He is stepping over the sea into America, leaving a burned down and ravaged Europe behind him. "The phallic and bloody cudgel and the beast's power over the half naked girl, give urgency to the enlistment call. As the beast steps onto American shores, recruits are invited both to fight militarism and to vie for the eroticized figure of raped Liberty" (Picture This p. 69). Popular folklore has it that this image was the influence for King Kong. Although this poster does not bear any indication of where it was printed, the companies listed at the bottom are all San Francisco area lithographers. This copy bears the scarce/span overprint "US ARMY 660 MARKET STREET," the address of the San Francisco army recruiting office. Rawls p. 66, Paret 32, Borkan cov. and 16, Beauty and the Beast p. 5, Picture This p. 69.

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TOM FEELINGS (1933 - 2003) Mankala.

by Swann Auction Galleries

2015

USA

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Description: TOM FEELINGS (1933 - 2003) Mankala. Gouache, ink, pencil on thin wove paper, mounted on illustration board, circa 1970. 292x546 mm; 11 1/4x21 1/4 inches. Signed and inscribed "To Maya With Black Love" in pencil, lower right. Provenance: acquired directly from the artist; the estate of Dr. Maya Angelou. Illustrated: Feelings, Muriel L. and Tom Feelings, Moja Means One: Swahili Counting Book, p. 3. This picture book by Tom and Muriel Feelings was a 1972 Caldecott Medal winner. Mankala (oware) is a popular bead game across West Africa, including Ghana, where Tom Feelings and Maya Angelou met in the early 1960s. Tom Feelings, well known artist and illustrator, was born in Brooklyn, New York. Feelings attended the School of Visual Arts in 1957 after serving in the Air Force where he worked in London as a staff artist for the Graphics Division. In 1962, he had his first commercial success when his drawings of the South were published in Look magazine. In 1964, Feelings traveled to Ghana, where he spent two years working for the Ghanaian government magazine, The African Review, teaching illustration, and serving as an art consultant for the government publishing house. In 1966, he returned to the United States to concentrate on illustrating books with African and African-American themes. Feelings received numerous awards for his illustrations including the Newberry Award in 1969, the Caldecott in 1972, the Coretta Scott King Award in 1979, 1994 and 1996 and a nomination for the American Book Award in 1982. From 1971 to 1974, Feelings lived in Guyana, South America, working as a teacher and consultant for the Ministry of Education, training young artists in textbook illustration. He received a National Endowment for the Arts Visual Artists Fellowship Grant in 1982. He was an artist-in-residence at the University of South Carolina from 1990 to 1995.

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PHOEBE BEASLEY (1943 -   ) Catnap.

by Swann Auction Galleries

2015

USA

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Description: PHOEBE BEASLEY (1943 - ) Catnap. Collage of various papers and mixed media on cotton canvas, 1980. 914x914 mm; 36x36 inches. Signed in brush and ink, lower right recto. Signed, titled, dated and inscribed "©" and with the artist's contact information in ink, lower center verso. Provenance: acquired directly from the artist; the estate of Dr. Maya Angelou. Catnap is an excellent example of Phoebe Beasley's popular work in collage. Beasley is best known for these colorful figurative compositions, incorporating various media, printed papers, fabric and found objects. Her paintings and collages often recreate such colorful characters and poignant scenes from the everyday lives of African-American families. Introduced by her friend, NBA legend Bill Russell, who hosted her first solo exhibition in 1976, Beasley developed a close friendship with Dr. Angelou. A longtime collector, supporter and mentor for over 40 years, Dr. Angelou provided a testimonial to the artist on her website: "Phoebe Beasley's eye has never failed her; has never lied to her, and her art generously gives us beauty, information and always the truth." Phoebe Beasley collaborated with Dr. Angelou in 1998 on the artist's book Sunrise is Coming After While, published by the Limited Editions Club. Beasley created six color screenprints of her collages, inspired by the poems of Langston Hughes, while Dr. Angelou selected the poems, titled the compilation and wrote the introduction and afterword. Beasley's artwork has been included in several museum exhibitions, including the 2002 Smithsonian Institution's In The Spirit of Martin, honoring the legacy of Dr. Martin Luther King, Jr., and the 2003 touring exhibition, Something All Our Own: The Grant Hill Collection. The artist has received presidential commissions, and was recently honored by the State Department for her participation in the Arts in Embassies Program. Her work is found in many public collections, including the University of Texas, the California African American Museum, Swarthmore College, Syracuse University, Cooper Union, Brigham Young University and Fisk University.

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MAYA ANGELOU (1928 - 2014) The Protector of Home and Family.

by Swann Auction Galleries

2015

USA

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Description: MAYA ANGELOU (1928 - 2014) The Protector of Home and Family. Oil on canvas board, 1969. 457x610 mm; 18x24 inches. Signed "Maya" in oil, lower right. Provenance: the estate of Dr. Maya Angelou. We beleive this remarkable painting is the first known visual art work by Dr. Maya Angelou to be publicly exhibited or offered for sale. According to an inscription on the verso, it was painted in the winter of 1969 shortly after her completion of I Know Why the Caged Bird Sings, and evokes the same courageousness found in her acclaimed autobiography. Dr. Angelou's The Protector of Home and Family is painted with bold brush strokes, and confronts the viewer unflinchingly. This painting is a strong visual statement of African-American women's courage and strength - a determination to confront the oppression and threats that many faced during the late 1960s.

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BERNARD CASEY (1939 -   ) Music and Fruit (Songs in Eden).

by Swann Auction Galleries

2015

USA

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Description: BERNARD CASEY (1939 - ) Music and Fruit (Songs in Eden). Acrylic on cotton canvas, circa early 1970s. 711x559 mm; 28x22 inches. Signed in acrylic, lower right recto. Titled "Songs in Eden" in ink, upper stretcher bar verso. Provenance: the estate of Dr. Maya Angelou. While best known for his long career as a television and movie actor, and as a NFL football player in the 1960s, Bernie Casey is also a talented fine artist. Casey showed his paintings of surreal and abstract compositions in the late 1960s and early 1970s, including two solo exhibitions at the Ankrum Gallery, Los Angeles and two at the John Bolles Gallery, San Francisco. Born in Wyco, West Virginia, Casey received both a BA and MFA in Fine Arts from Bowling Green State University. He also served on the Board of Trustees at the Savannah College of Art and Design for over 20 years. His paintings are found in the permanent collections of the Museum of African American Art, Los Angeles, the Beverly Hills Library and the Hirshhorn Museum, Washington, DC. Lewis/Waddy p. 123.

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ROMARE BEARDEN (1911 - 1988) The Train.

by Swann Auction Galleries

2015

USA

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Description: ROMARE BEARDEN (1911 - 1988) The Train. Watercolor on illustration board, circa 1985. 330x432 mm; 13x17 inches. Signed "Romare" and inscribed "For Maya" in pencil, lower left, and titled in watercolor, lower right. Provenance: acquired directly from the artist; the estate of Dr. Maya Angelou. The train is an important and re-occuring image in the work of Romare Bearden, beginning in 1964, when it appeared in his collages Mysteries and Watching Good Trains Go By. The train represents not only a memory of his childhood growing up in Charlotte, NC, when he loved to watch the Southern Railway trains go by, but the possiblity of social and economic movement for African-Americans, particularly during the Great Migration. Romare Bearden made several photomontage and collage images with trains in the 1960s and 1970s, but his 1974 print The Train is probably his best known image. Printmaker Bob Blackburn and Bearden together created a new and innovative combination of etching and photo engraving to re-create the appearance of his collages.

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ARTIS LANE (1927 -  ) The Beginning.

by Swann Auction Galleries

2015

USA

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Description: ARTIS LANE (1927 - ) The Beginning. Offset color lithograph, 1994. 610x686 mm; 24x27 inches, full margins. Artist's proof, aside from an edition of 750. Signed, titled, dated, numbered 59/75 and inscribed "A.P." in pencil, lower margin. Also signed and dated " '93" by Rosa Parks in pencil, lower margin. Born in Ontario, Canada, Artis Lane studied at the Art College in Toronto, the Cranbrook Academy of Art, Bloomfield Hills, MI and the University of California in Los Angeles. In 1984, the artist had her fist of several solo exhibitions at the Brockman Gallery in Los Angeles. Today, Artis Lane is celebrated for her portraits in both sculpture and painting of famous and historic figures. In 2007, the California African American Museum in Los Angeles mounted a major retrospective exhibition of her work. In 2009, First Lady Michelle Obama unveiled Lane's bronze bust of Sojourner Truth, which became the first sculpture of a black woman installed in the U.S. Capitol.

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JEANNE MOUTOUSSAMY-ASHE (1951 -   ) Maya Angelou.

by Swann Auction Galleries

2015

USA

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Description: JEANNE MOUTOUSSAMY-ASHE (1951 - ) Maya Angelou. Silver print with extensive hand coloring, 1993. 254x267 mm; 10x10 1/2 inches, full margins. Signed and dated 11/93 in ink, lower margin, with the artist's ink stamp verso. Photographer Jeanne Moutoussamy-Ashe was born in Chicago, Illinois. She began her formal training at age eight when her parents enrolled her in classes at the Art Institute of Chicago. In 1975, she received a BFA degree in photography from The Cooper Union School of Art. Moutoussamy-Ashe married tennis legend Arthur Ashe in 1977. Since his death, in 1993, she has been a stalwart activist in the AIDS crisis through programs such as the Arthur Ashe Foundation for the Defeat of AIDS and her 1994 book of photographs Daddy and Me, describing the relationship of her daughter and her husband, as he was dying of AIDS. Throughout her career, Moutoussamy-Ashe has exhibited her work widely, including the National Portrait Gallery, the Museum of Modern Art and the Whitney Museum of American Art among others. Source: The HistoryMakers.com

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JAMES MCKISSIC (1972 -  ) Jimmy's Blues.

by Swann Auction Galleries

2015

USA

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Description: JAMES MCKISSIC (1972 - ) Jimmy's Blues. Oil on cotton canvas, circa 1987. 508x406 mm; 20x16 inches. Signed and inscribed "To Maya Angelou: Thanks for the inspiration" in ink, upper right. Provenance: acquired directly from the artist, given to Dr. Maya Angelou on behalf of McKissic by author Clarence Nero (2004); the estate of Dr. Maya Angelou. A portrait of the late writer James Baldwin, Jimmy's Blues, gets its title from the author's 1985 book of poetry. The painting hung in Dr. Angelou's house until her death, to honor her dear friend. James McKissic has had a long career as an artist and exhibits his paintings widely. He studied art at the University of Tennessee at Chattanooga, Cleveland State Community College and the Creative Arts Workshop in New Haven, CT. He is also a passionate arts advocate and collector of African-American art. McKissic lives in Chattanooga, TN and is the city's Director of the Office of Multicultural Affairs. Biography courtesy of the artist's website.

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JEAN CARLU (1900-1997). GIVE 'EM BOTH BARRELS. 1941. 30x39 inches, 76x101 cm. U.S. Government Printing Office, [Washington D.C.]

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $800 - $1,200

Description: JEAN CARLU (1900-1997) GIVE 'EM BOTH BARRELS. 1941. 30x39 3/4 inches, 76x101 cm. U.S. Government Printing Office, [Washington D.C.] Condition B+: repaired tears and restored losses at edges; minor creases and abrasions in margins and image. In 1939, while still in France, Carlu designed a poster promoting the "Anglo-French Day for the benefit of the combatants and their families," featuring two soldiers in profile, a theme which he clearly replicated here, but with far more effect and impact. "A visual analogy is found between a machine gun and a rivet-gun," (Word & Image p. 61) driving home the connection between home front workers and front-line soldiers. This is the larger of two formats. Carlu 50, Design for Victory p. 29, Word & Image p. 61, Modern American 46, IWM II p. 24, Modern Poster 195, Judd 4.7, Nelson p. 65.

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BRUCE WEBER (1946- ). CALVIN KLEIN UNDERWEAR. Bus stop poster. 1983. 67x47 inches, 170x120 cm.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $3,000 - $4,000

Description: BRUCE WEBER (1946- ) CALVIN KLEIN UNDERWEAR. Bus stop poster. 1983. 67 1/4x47 1/2 inches, 170 3/4x120 3/4 cm. Condition B+: losses and residue at top margin; scratches and abrasions in margins and image. Printed on Acetate. Bruce Weber's photograph of Brazilian pole-vaulter Tom Hintnaus originally appeared as a 70-foot high billboard in New York City's Times Square. This image and the ad campaign had a seismic effect on America's social and cultural scene. "Weber's photographs are part of the phenomenon they document . . . his advertising campaigns . . . have come to stand for the acceptance of this imagery by the cultural mainstream. For those who can recall a time before it became acceptable for men to regard their underwear as fashion statements, Weber's images must count among the most revolutionary tools yet devised in the history of consumer manipulation. Miniature dramas in which men assume the passive role once assigned almost exclusively to women, they have also been a force for change in relations between the sexes" (Herbert Muschamp, New York Times Magazine, November 14, 1999). American Photographer Magazine named the photo one of the "10 Pictures that Changed America."

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WILLIAM H. BRADLEY (1868-1962). THE MODERN POSTER. 1895. 19x11 inches, 48x29 cm. Charles Scribner's Sons, New York.

by Swann Auction Galleries

August 5, 2015, 10:30 AM EST

New York, NY, USA

Estimated Price: $5,000 - $7,500

Description: WILLIAM H. BRADLEY (1868-1962) THE MODERN POSTER. 1895. 19x11 1/2 inches, 48 1/4x29 1/4 cm. Charles Scribner's Sons, New York. Condition A-: minor creases in margins; unobtrusive foxing in margins and image. Numbered and initialed in pen. Matted and framed. The first American book dedicated to the poster craze was published by Charles Scribner in 1895, and contained articles on the development of the poster in different countries, including England, France, Italy and America. The book was limited to 1000 copies, for which Bradley designed the paper cover label and the frontispiece. As an added incentive to poster lovers, each of the copies came with this Bradley poster. This copy is numbered 175, and (like all in the run) is initialed by Charles Scribner. Antiquarian book dealers who handle the book note that when it is sold, it is "as usual" without the poster. Not in Kiehl, DFP-I 158, Margolin p. 46, Koch p. 63, Reims 1145, Virginia p. 10, Keay p. 27, Met 1990.1016.1.

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JONATHAN GREEN (1955 -   ) Wading in the Surf.

by Swann Auction Galleries

2015

USA

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Description: JONATHAN GREEN (1955 - ) Wading in the Surf. Acrylic on masonite board, 1989. 356x279 mm; 14x11 inches. Signed and dated in silver ink, lower left recto. Signed and inscribed "To Maya, Warmly" in green ink, upper left verso. Provenance: acquired directly from the artist; the estate of Dr. Maya Angelou. Jonathan Green paints the life of the Gullah people in the rural inland marshes and surrounding Sea Islands of South Carolina, and is one of the best known contemporary artists painting the Southern experience. Work, family celebrations, prayer, storytelling, and a variety of recreational activities are all documented in Green's paintings. Green was born in 1955 in Gardens Corner, SC, and learned the Gullah dialect from his maternal grandmother. Since graduating from the Art Institute of Chicago in 1982, Green has exhibited his work nationwide. His work is in the permanent collections of numerous museums, including the Morris Museum, Augusta, GA, the Afro-American Museum of Philadelphia, the Naples Museum of Art, Naples, FL and the IFCC Cultural Center, Portland, OR. Green has received awards recognizing both his work and his civic contributions. In 1996, Green received an honorary doctorate from the University of South Carolina, the same year the book, Gullah Images: The Art of Jonathan Green, reproducing a large number of his pieces was published. In 2009, Green received the Key of Life Award for his contributions and achievements in the visual fine arts from the NAACP at the organization's 40th Image Awards. Source: The HistoryMakers.com

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MELVIN EDWARDS (1937 -   ) OWWA Maya.

by Swann Auction Galleries

2015

USA

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Description: MELVIN EDWARDS (1937 - ) OWWA Maya. Welded steel, 2011. 254x178x102 mm; 10x7x4 inches. Signed and titled in steel, verso. Provenance: the artist; the Organization of Women Writers of Africa (OWWA) (2011); the estate of Dr. Maya Angelou. Melvin Edwards presented this sculpture to Dr. Angelou in 2011 when she was honored at the twentieth anniversary celebration of the Organization of Women Writers of Africa (OWWA). Co-founded in 1991 by Ghanaian writer Ama Ata Aidoo and Edwards' late wife poet Jayne Cortez (who served as its president), OWWA organized some of the first international black women writers conferences. Angelou had been a mentor and friend to the organization, and Edwards made the piece specifically for her. In OWWA Maya, Melvin Edwards incorporates many recurring elements in his practice, including horseshoes, chains, and locks. Although primarily chosen for their formal and aesthetic qualities, these materials unfold multiple layers of symbolic significance as they relate to African and African American history and culture, as well as Edwards' autobiography. His use of chains, for example, speaks to the history of slavery and oppression, while simultaneously representing the links between people and cultures. Edwards explains that as an artist, 'I have to be aware of the double and multiple meanings of things.' Of particular importance in the piece is the long, pointed metal instrument, which the artist relates to both Angelou's and OWWA's incisiveness and impact. Description courtesy of Alexander Gray Associates.

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JOHN BIGGERS (1924 - 2001) Kumasi Market.

by Swann Auction Galleries

2015

USA

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Description: JOHN BIGGERS (1924 - 2001) Kumasi Market. Oil and acrylic on masonite board, 1962. 863x1524 mm; 34x60 inches. Signed and dated in oil, left edge, center. Provenance: acquired directly from the artist; the estate of Dr. Maya Angelou Exhibited: The Art of John Biggers: View from the Upper Room, The Museum of Fine Arts, Houston, TX, April 2 - September 3, 1995; North Carolina Museum of Art, Raleigh, NC; October 15, 1995 - January 13, 1996, and the Wadsworth Atheneum, Hartford, CT, May 19 - July 14, 1996, with the labels on the frame back. Illustrated: The Art of John Biggers: View from the Upper Room, The Museum of Fine Arts, Houston, TX, p. 89, fig. 38. Kumasi Market is a significant and panoramic oil by John Biggers which epitomizes his interest in African culture. Based on Biggers' experiences in Ghana in the late 1950s, this densely painted scene displays the artist's intense observation of a large market, a busy meeting place primarily populated by women. The colors, shapes and patterns fill the scene with details of daily life that Biggers carefully recorded. It is not only a depiction of the woman's important role in Ghanaian culture, but a reflection by the artist on the universal aspects of African women. John Biggers' painting represents the importance of the African woman in her society. Biggers had said that "Africa has a female sensibility", and "the woman was so powerful in African culture." In 1957, Biggers was one of the first African-American artists to visit Africa, sponsored by a UNESCO fellowship to study and record traditional African culture. In addition to Ghana, John and his wife Hazel visited Togo, the Republic of Benin and Nigeria over a six month period. Ghana had only just achieved its independence from Britain in March of that year. Upon his return, between 1959 and 1963, Biggers created the monumental painting, Jubilee: Ghana Harvest Festival, now in the Museum of Fine Arts, Houston and a group of these large paintings. In addition to Kumasi Market, Biggers painted Market Women, Ghana, ex-collection Golden State Mutual Life Insurance Company, and Laundry Women (Washerwomen in Volta Region), collection Diggs Gallery, Winston-Salem University. Biggers also illustrated eighty-three of his drawings from this African period in Ananse: The Web of Life in Africa published in 1962. Wardlaw p. 86 and 165.

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DINIZULU GENE TINNIE (1942 -  ) In the Wake of Columbus.

by Swann Auction Galleries

2015

USA

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Description: " DINIZULU GENE TINNIE (1942 - ) In the Wake of Columbus. Collage and mixed media on board, with artist's decorated wooden frame, 1992. 1105x445 mm; 43 1/2x17 1/2 inches. Signed and dated in ink, lower center. Provenance: acquired directly from the artist; the estate of Dr. Maya Angelou. Exhibited: I Remember...Thirty Years After the March on Washington: Images of the Civil Rights Movement 1963-1993, The Corcoran Gallery of Art, Washington, 1993 and Blaffer Gallery at the University of Houston, Houston, TX, 1994, with museum labels and a poem signed and authored by the artist on the frame back; Where the Water Tastes like Cherry Wine: African American Artists in Florida, Polk Museum of Art, Lakeland, FL, 1994; Linkages, Old Dillard Museum, Fort Lauderdale, FL, 1996; Jazz: An Art Ensemble, Coral Springs Museum of Art, Coral Springs, FL, 1998; Zora Neale Hurston Museum, Eatonville, FL, 1998. This mixed media collage, including a reproduction of an engraving made by British abolitionists in the 18th century set in a casket, was created in response to the 500th anniversary of Columbus' arrival in the Americas. The casket supports the world map symbolizing how the transatlantic slave trade from the 16th to 19th centuries supported the global economy by killing and enslaving millions of Africans. Details of the work also highlight significant cultural elements, that were often stolen by colonial governments to display in museums. For example, a reproduction of bronze oba (king) mask from the Benin kingdom is embedded in the map. Dinizulu Gene Tinnie is a New York-born, Miami-based visual artist, writer, independent researcher, semi-retired educator, and activist in cultural arts, historic preservation, and social justice issues. He is the Co-Director of the Dos Amigos/Fair Rosamond Slave Ship Replica Project and is active in the Middle Passage Coalition. Mr. Tinnie serves on several museum and historic preservation boards. Biography courtesy of Contemporary African Diaspora Art.

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FAITH RINGGOLD (1930 -    ) Maya's Quilt of Life.

by Swann Auction Galleries

2015

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Description: FAITH RINGGOLD (1930 - ) Maya's Quilt of Life. Acrylic on canvas and painted, dyed and pieced fabrics, 1989. 1854x1854 mm; 73x73 inches. Inscribed "Maya's Quilt of Life by Faith Ringgold © 1989" and "This painted story quilt is a tribute to the universal wisdom and strength of Maya Angelou, the phenomenal woman, writer, poet, thinker and human being. It was commissioned for Ms. Angelou's birthday, April 4, 1989, by Oprah Winfrey who says of Ms. Angelou: "She is our mother, sister, friend and teacher." and "Text of the quilt is excerpted from: Just Give Me A Cool Drink of Water 'Fore I Diiie © 1971, Gather Together In My Name © 1974, The Heart of A Woman © 1981, I Know Why The Caged Bird Sings © 1970 by Maya Angelou reprinted here by permission of Random House, Inc., New York City" in ink, upper left recto. Also inscribed "Maya's Quilt of Life by Faith Ringgold © 1989, acrylic paint on canvas and printed, dyed and pieced fabrics, 73" by 73", text from Maya Angelou's published works by permission of Random House, NYC." in ink on canvas, lower left verso. Provenance: commissioned by Oprah Winfrey and given to Dr. Angelou on her birthday; the estate of Dr. Maya Angelou. Maya's Quilt of Life is a quintessential story quilt by Faith Ringgold - an excellent example of her unique art form, the artist's ingenious incorporation of painting, narrative texts and quilt-making, and a beautiful, moving portrait of Dr. Angelou. Ringgold paints a confident and beautiful young woman walking down a wooded path lined with blossoming spring flowers. Dr. Angelou is wearing her signature brightly patterned African print dress and head scarf. Ringgold's portrait embodies the strength, independence and beauty of Dr. Angelou. Ringgold's bold combination of collage, color and pattern all reinforce the visual expressiveness and celebratory character of the artwork. The panels of hand-written quotations from Dr. Angelou's writings remind us of the two artists' common interests. Ringgold's story quilts were born from her writings and performance work in the early 1980s. She sought to express herself not only visually but "in her own words" - and has always included text in her story quilts. Ringgold has said her storytelling's aim was to "shed light on who I am as an African-American woman outside of the limitations that people's stereotypes place on me. I don't want to argue about it. I just want to re-tell the story." Prominently hung in Dr. Angelou's Harlem home, Maya's Quilt of Life made a lasting impression on the many family members, friends and guests who came to visit - though this is the first time it has been publicly exhibited. This is also the first time one of Faith Ringgold story quilts has come to auction. Farrington pp. 73 and 99.

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