Select Collection | Prints of Romare Bearden

SELECT COLLECTION PRINTS OF ROMARE BEARDEN Art © Bearden Foundation/Licensed by VAGA, New York, NY

Greenhill 200 North Davie Street, Box No.4 Greensboro, NC 27401 www.greenhillnc.org Published in conjunction with the exhibition Select Collection | Prints of Romare Bearden April 15, 2014 - June 22, 2014 Greenhill Art Š Bearden Foundation/Licensed by VAGA, New York, NY Š 2013 Greenhill All rights reserved. This publication is protected by copyright. No part of this publication may be repoduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the copyright holder.

Works Appraised by Sharon Campbell, ASA Campbell Fine Art Research and Appraisal Marketing and Public Relations Support provided by SMSi Marketing Companies Sandra Miller Jones & Lafayette Jones Cover and Book Design: Lauren Gordon, Marketing & Design Specialist, Greenhill

SELECT COLLECTION PRINTS OF ROMARE BEARDEN APRIL 15, 2014 - JUNE 22, 2014

Introduction

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Greenhill is honored to present Select Collection | Prints of Romare Bearden. With this exhibition and sale, Greenhill celebrates one collector, Lou Milano and his extraordinary collection, and one artist, Romare Bearden, who helped define 20th century contemporary art.

with a catalogue of works in the hundreds. The exhibition and art sale at Greenhill will provide the viewer with a sampling of some of his most important lithographs, serigraphs and etchings, including his highly acclaimed works The Family, Carolina Morning, Mecklenburg Autumn and The Train.

Mr. Milano became a collector of Romare Bearden’s work in 1985 when he walked into Jerald Melberg’s Charlotte gallery and found himself in an exhibition space full of Bearden collages and prints. With that fateful step into the gallery, he was hooked on Bearden and bought out the entire show. Over the years Lou became an avid collector and scholar of Bearden’s work—he knows the stories, went to New York to meet the artist and is a walking encyclopedia on Bearden prints. Now, it is time for Lou to pass this collection on to a new generation of collectors; because of Greenhill’s mission, he chose us to be his partner. We are honored to be entrusted to show his remaining collection and to help sell these incredible works.

Greenhill is the only non-collecting organization dedicated to presenting, promoting and advocating for contemporary visual art and artists of North Carolina. The mission of Greenhill is to promote the visual arts of North Carolina by engaging a broad community of artists, adults and children through dynamic exhibitions and educational programs and providing a platform for exploration and investment in art. Since its founding in 1974, the organization has presented and sold artwork of over 9,850 visual artists and engaged nearly one million visitors through free access to The Gallery, The Shop & ArtQuest, the award-winning education program for children & families. Greenhill is located in downtown Greensboro in the Greensboro Cultural Center.

Romare Bearden was born in Charlotte, North Carolina in 1911; he left for New York City with his parents in 1914 but came back to his home state often to visit his grandparents. For Greenhill, Select Collection | Prints of Romare Bearden symbolizes Bearden at home, and we hope it means Bearden in your home. North Carolina left an indelible mark on Bearden’s work which you will see this through many of the works offered through Select Collection | Prints of Romare Bearden. Bearden was a prolific artist,

We hope you enjoy this catalogue and will visit the exhibition, running April 15 – June 22, 2014.

In the following pages you will see the 45 works that will be on exhibit. Starting on page 51 you will find the entire list of works available for sale, instructions for pre-purchases, a glossary of terms and terms of sale. Enjoy, and please contact Greenhill if you have any questions.

Best, Laura Way, Executive Director

Prints of Romare Bearden Romare Bearden explored the art of printmaking extensively and enthusiastically late in his career.

He worked with master printmakers to bring his concepts to life in lithographs, screenprints, etchings, monoprints, and aquatints. Examining the wide array of his prints will assist the connoisseur in understanding the experimentation, adaptation, and improvisation found in his oeuvre. The subjects of his prints often echo works he originally conceived in paint or collage. And, they reflect the rituals, motifs and themes important to him—memories of his southern childhood (Mecklenburg Autumn, 1979), the pulse of music (The Jazz Series, 1979), the importance of family (Mother and Child, c.1980), the beauty of the Caribbean (Tropical Flowers, 1971-72), trains (Carolina Memory, 1970-72), cameos of domestic life (Quilting Time, 1979), and aspects of African-American history (Slave Ship, 1977)— allowing his ideas to reach a broader audience.

In an undergraduate course at New York University in the 1930s, Bearden was introduced to printmaking. However, he did not actively engage the process until significantly later. His initial use of reproductive techniques comes in the form of photocopies of works of art (his own and those of earlier artists) used as source 1 material or visual aids. In 1964 he exhibited his Projections series at Cordier & Ekstrom gallery in New York. These works, created using the photostatic method, transformed and enlarged his small-scale collages, and initiated a new phase of artistic activity. The majority of Bearden’s prints date to the 1970s; in this period

Romare Bearden 1911-1988 he avidly explored the possibilities printmaking offered, working with master printmakers, notably Robert Blackburn (assisted by Mohammad Khalil and Kathleen Caraccio) at The Printmaking Workshop in New York, and Joseph Kleineman.2 The first exhibition devoted solely to Bearden’s prints was held in 1981.

Prints offered Bearden the opportunity to reinvigorate familiar subjects in diverse media.

A motif found in many of his works is that of the train. Trains represent memories of Bearden’s childhood home in North Carolina, his family’s migration north, the passage of time. Trains unite, but also fracture, and demarcate both the past, and the possibility of the future. For many African-Americans, including Bearden’s father Howard, they were a source of employment, and they reference the “underground” railroad.

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In Bearden’s art, trains are often seen running through the background—in Carolina Memory (Tidings) (1970-72), Conversation (1979), Memories (c.1974), Pepper Jelly Lady (1975), and above all The Train (1974). This image is one much transmuted by Bearden, over the course of a decade: it is first a photostat (Mysteries, 1964), then a collagraph (Mysteries, 1974), then a collage (The Train, 1974), then an etching/ aquatint. The complex process employed—a plate cut-up like a jigsaw puzzle, viscosity printing, and aquatints to replicate watercolor— was developed and master-printed by Kathleen Caraccio.3 Bearden’s capacity for repeating and reinventing themes and motifs—while always making them seem fresh and inspired—became a hallmark of his career. Mary Lee Corlett explained that the 1964 Projections and related collages served as starting points for many collagraphs of the 1970s and other prints, describing his process as “compositional reinvention.”4 This great improvisational ability may relate to his love of jazz.

Perhaps Bearden’s most celebrated print is The Family (1975), an aquatint and photo engraving. It was produced for An American Portrait, 1776-1976, a collection printed to commemorate the Bicentennial. Critics lauded it as one of the highlights of the publication, and it solidified Bearden’s growing reputation in the realm of printmaking. 5

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Bearden also created prints for commercial purposes. Roots (1977), was an image commissioned for the cover of TV Guide. It

was seen in the homes of millions of Americans in January 1977, connected to the broadcast premiere of the miniseries Roots: The Saga of an American Family (based on Alex Haley’s book).

Bearden first created a collage, then transformed the image of a profile head, the African continent, and a slave ship, into a lithograph. The result is a bold representation of the essential elements of the story, captured in visual form and disseminated widely through a popular periodical.

The celebrated Odysseus Suite, represented in Select Collection | Prints of Romare Bearden by the screenprint Circe Into Swine (1979), is another excellent example of Bearden’s desire to rework and renovate images. In 1977 Bearden created a series of collages re-envisioning the journey of Odysseus in an African-American context. He then explored the theme in a complementary series of watercolors, and subsequently a set of prints. Close scrutiny reveals the subtle changes Bearden made between images to elicit fresh responses to a timeless story.

Scenes of domestic life are found throughout Bearden’s work. Falling Star (1979) is one such example, executed in collage, lithograph, and watercolor, likely all in the same year. Each version shows a woman in profile, in a domestic setting; through an open door we see a window revealing a falling star. While all have the same composition and key elements, colors and details differ slightly. Corlett has described the relationship between Bearden’s works, not

as one image copied from another, but each as “a potential touchstone for another” and states that the key is “the insight revealed by the themes and structures he chose to revisit and the manner in which he reinvented them.”6 She also relates his method to the call and response tradition in the African-American church, and musical improvisation. 7 Perceiving these approaches aids the viewer in comprehending the almost-ritualistic repetition employed by Bearden, and how each individual work offers new meaning.

and then in various print techniques, extensively reinventing familiar subjects, reveals the breadth of his talent. He had a continuous ability to improvise, never ceasing to find unexplored potential in existing works.

The Jazz Series (1979) comprises lithographs reflecting Bearden’s lifelong interest in music.

Select Collection | Prints of Romare Bearden includes a large number of prints from this series: Bopping at Birdland (Walking Bass), Brass Section (Jamming at Minton’s), Introduction for a Blues Queen (Uptown at the Savoy), Louisiana Serenade, Out Chorus (Rhythm Section), Stomp Time (Solo Player), and Tenor Sermon. Each lithograph exudes the pulsating rhythm of musicians, instruments, and vibrant performances. The working proofs (labeled bon à tirers) give insight into the working process behind the creation of the prints; they reveal the sinuous lines and bold forms of the compositions without color.

1 Sarah Kennel explores Bearden’s varied and extensive use of reproductive images in “Bearden’s Musée Imaginaire” in the exhibition catalog The Art of Romare Bearden, ed. Ruth Fine (Washington DC: National Gallery of Art, 2003), 138-155.

Romare Bearden once said, “You can’t always do things the same way.”8 Critics and art historians have come to see this statement as an explanation for the tremendous variety he established throughout his long career. His ability to work extensively in paint and collage,

Alison Fleming Associate Professor of Art History Chair, Department of Art + Visual Studies Winston-Salem State University _______________________________________

2 For details on the master printers Bearden worked with see Mary Lee Corlett, “Impressions & Improvisations: A look at the prints of Romare Bearden” in From Process to Print: Graphic Works by Romare Bearden (San Francisco: Pomegranate, 2009), 9-38.

3 Caraccio described the creation of The Train, and her working relationship with Bearden, in an interview transcribed in From Process to Print, 116-119.

4 Corlett, “No Star is Lost at all: Repetition Strategies in the Art of Romare Bearden” in Romare Bearden: Southern Recollections (Charlotte NC: Mint Museum, 2011), 116-117.

5 The Family, and its positive critical reception, is discussed in detail by Corlett, 2009, 16-17.

6 Corlett, 2011, 107 and 120.

7 Corlett, 2011, 121.

8 As quoted by Carroll Greene in Romare Bearden: The Prevalence of Ritual (New York: Museum of Modern Art, 1971), 4.

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Art Š Bearden Foundation/Licensed by VAGA, New York, NY

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Carolina Blue (Interior), 1970 screenprint and collage sheet: 27.5 x 21.75 inches

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Carolina Memory (Tidings), 1970-1972 screenprint sheet: 20.5 x 29.5 inches

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8 Conjunction, 1979 lithograph, sheet: 28 x 21 inches

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Conversation, 1979 lithograph sheet: 21.5 x 28.25 inches

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10 Falling Star, 1979 lithograph sheet: 28 x 21.25 inches

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Firebirds, 1979 lithograph sheet: 21 x 28 inches

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Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

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Girl in the Garden, 1979 lithograph sheet: 28.25 x 21 inches

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Homage To Mary Lou, 1984 lithograph sheet: 29.25 x 20.5 inches

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Art Š Bearden Foundation/Licensed by VAGA, New York, NY

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Mecklenburg Autumn, 1979 lithograph sheet: 27 x 21.25 inches

Memories, c. 1974 etching sheet: 22.25 x 30.25 inches

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Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

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Morning (Carolina Morning), 1979 lithograph sheet: 22 x 28 inches

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Mother & Child, circa 1980 lithograph sheet: 27.25 x 21.25 inches

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18 Open Door, 1979 lithograph sheet: 28.5 x 21.5 inches

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Pepper Jelly Lady, 1975 lithograph sheet: 25.75 x 21.25 inches

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Art Š Bearden Foundation/Licensed by VAGA, New York, NY

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Pilate (Misty Island), 1979 lithograph sheet: 28 x 21 inches

Processional, 1983 screenprint sheet: 24 x 20 inches

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Art Š Bearden Foundation/Licensed by VAGA, New York, NY

22 Quilting Time, 1979 lithograph sheet: 21.5 x 27 inches

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Sunday Morning at Avila 1979-1980 etching sheet: 25.75 x 21.75 inches

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24 The Family, 1975 aquatint sheet: 19.5 x 25.75 inches

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

The Lamp, 1984 lithograph sheet: 29.75 x 21.5 inches

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Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

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The Lantern, 1979 lithograph sheet: 28.5 x 19.75 inches

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

The Train, 1974 etching and aquatint sheet: 22 x 30 inches

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Art Š Bearden Foundation/Licensed by VAGA, New York, NY

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Three Women (Easter Sunday) 1979 lithograph sheet: 28 x 21 inches

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Two Women, 1981-1982 screenprint sheet: 25.75 x 32.25 inches

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Art Š Bearden Foundation/Licensed by VAGA, New York, NY

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Bopping At Birdland (Walking Bass), from the Jazz Series, 1979 lithograph sheet: 33.5 x 24 inches

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Bopping At Birdland (Walking Bass), from the Jazz Series, 1979 lithograph sheet: 38 x 25 inches

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Art Š Bearden Foundation/Licensed by VAGA, New York, NY

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Brass Section, (Jamming at Mintons), from the Jazz Series, 1979 lithograph sheet: 24 x 33.5 inches

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Introduction for a Blues Queen, from the Jazz Series, 1979 lithograph sheet: 23.75 x 35.25 inches

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Art Š Bearden Foundation/Licensed by VAGA, New York, NY

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Introduction for a Blues Queen, from the Jazz Series, 1979 lithograph sheet: 25 x 38 inches

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Jamming at the Savoy, 1980-1981 etching sheet: 22.5 x 30 inches

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Art Š Bearden Foundation/Licensed by VAGA, New York, NY

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Louisiana Serenade, from the Jazz Series, 1979 lithograph sheet: 28.5 x 41.25 inches

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Louisiana Serenade, from the Jazz Series, 1979 ithograph sheet: 24.75 x 37.75 inches

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Art Š Bearden Foundation/Licensed by VAGA, New York, NY

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Out Chorus, 1979 etching, aquatint, screenprint sheet: 25.75 x 21.25 inches

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Out Chorus (Rhythm Section), from the Jazz Series, 1979 lithograph sheet: 23.75 x 33.5 inches

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Art Š Bearden Foundation/Licensed by VAGA, New York, NY

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Stomp Time (Solo Player), from the Jazz Series, 1979 lithograph sheet: 22 x 33.25 inches

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Storyville: Piano Interlude, 1980 paper collage and paint on masonite image 5.5 x 8.75 inches

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Art Š Bearden Foundation/Licensed by VAGA, New York, NY

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Tenor Sermon, from the Jazz Series, 1979 lithograph sheet: 24.75 x 33.5 inches

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Circe into Swine, 1979 screenprint sheet: 20.5 x 27.5 inches

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Art Š Bearden Foundation/Licensed by VAGA, New York, NY

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Dreams of Exile (Green Snake), 1971 lithograph sheet: 26.75 x 22 inches

Roots, 1977 lithograph sheet: 29.25 x 21 inches

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Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

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Slave Ship, 1977 screenprint sheet: 34.75 x 24.75 inches

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Sorcerer; African Fantasy, 1972 screenprint sheet: 19.75 x 22.5 inches

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Art Š Bearden Foundation/Licensed by VAGA, New York, NY

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Sword Fighter, 1948 pen and ink sheet: 24.25 x 18.5 inches

The Olympics, 1976 lithograph sheet: 40 x 25 inches

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Art Š Bearden Foundation/Licensed by VAGA, New York, NY

Art Š Bearden Foundation/Licensed by VAGA, New York, NY

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Tropical Flowers, 1971-1972 aquatint sheet: 22 x 30 inches

Complete List of Works Bopping at Birdland (Walking Bass), 1979 lithograph Edition: 32/175 $3,000.00

Carolina Memory (Tidings), 1970-1972 screenprint (framed to 25 ½ x 34 ¼ inches) Edition: AP $6,000.00

Bopping at Birdland (Walking Bass), 1979 Lithograph Edition: BAT $2,500.00

Circe into Swine (from the Odysseus Suite), 1979 screenprint (framed to 31 x 37 inches) Edition: 41/125 $3,300.00

Brass Section (Jamming at Minton’s), 1979 lithograph, (framed to 36 ½ x 45 ¾ inches) Edition: 56/175 $3,800.00

Conjunction, 1979 lithograph (framed to 33 x 28 1/8 inches) Edition: 282/300 SOLD

Brass Section (Jamming at Minton’s), 1979 lithograph Edition: BAT $2,500.00

Conversation, 1979 lithograph Edition: 53/175 SOLD

Brass Section (Jamming at Minton’s), 1979 lithograph Edition: 175/175 SOLD

Conversation, 1979 lithograph (framed 30 ½ x 37 ¼ ) Edition: 156/175 $7,500.00

Carolina Blue (Interior), 1970 screenprint/collage (framed to 36 ¼ x 30 inches) Edition: 57/100 $8,000.00

Dreams of Exile (Green Snake), 1971 1lithograph (framed to 32 3/4 x 26 inches) $5,700.00

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Dreams of Exile (Green Snake), 1971 lithograph (framed to 33 x 26 ¼ inches) SOLD The Falling Star, 1979 lithograph Edition: AP 27/30 $6,600.00 The Family, 1975 aquatint (framed to 36 x 42 inches) Edition: HC 11/25 SOLD The Family, 1975 aquatint on handmade board Edition: VII/L SOLD Firebirds, 1979 lithograph Edition: 180/300 $3,500.00 Girl in the Garden, 1979 lithograph Edition: XIV/L $5,700.00

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Girl in the Garden, 1979 lithograph Edition: XV/L $5,700.00 Girl in the Garden, 1979 lithograph (framed to 34 x 27 ½ inches) Edition: XXIX/L SOLD Girl in the Garden, 1979 lithograph Edition: XXXV/L SOLD Girl in the Garden, 1979 lithograph Edition: XXXVI/L SOLD Girl in the Garden, 1979 lithograph Edition: XXXVII/L $5,700.00 Homage to Mary Lou, 1984 lithograph (framed to 36 ¾ x 27 ¼ inches) Edition: 4/100 $20,000.00

Introduction for a Blues Queen, 1979 lithograph (framed to 36 ¼ x 47 ½ inches) Edition: 148/175 $4,100.00

The Lantern, 1979 lithograph Edition: 47/175 $6,400.00

Introduction for a Blues Queen, 1979 lithograph (framed to 25 x 38 inches) Edition: BAT $2,500.00

The Lantern, 1979 lithograph Edition: 48/175 $6,400.00

Jamming at the Savoy, 1980-1981 etching (framed to 27 x 34 ¼ inches) Edition: 44/150 $10,500.00

The Lantern, 1979 lithograph Edition: 49/175 $6,400.00

The Lamp, 1984 lithograph (framed to 36 ¾ x 30 ¾ inches) Edition: PP $20,000.00

The Lantern, 1979 lithograph (framed to 36 ¼ x 27 ¾ inches) Edition: 60/175 SOLD

The Lantern, 1979 lithograph Edition: 14/175 SOLD

1. Louisiana Serenade, 1979 lithograph Edition: 24/175 $4,500.00

The Lantern, 1979 lithograph Edition: 34/175 $6,400.00

2. Louisiana Serenade, 1979 lithograph Edition: 68/175 $4,500.00

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Louisiana Serenade, 1979 lithograph Edition: 97/175 $4,500.00

Louisiana Serenade, 1979 lithograph (framed to 28 3/8 x 41 ¼ inches) Edition: BAT $2,700.00

Louisiana Serenade, 1979 lithograph Edition: 98/175 $4,500.00

Mecklenberg Autumn, 1979 Lithograph Edition: 20/175 $3,800.00

Louisiana Serenade, 1979 lithograph (framed to 36 ¾ x 45 ¾ inches) Edition: 101/175 $4,800.00

Mecklenberg Autumn, 1979 lithograph Edition: 21/175 $3,800.00

Louisiana Serenade, 1979 lithograph Edition: 102/175 $4,500.00

Mecklenberg Autumn, 1979 lithograph Edition: 22/175 $3,800.00

Louisiana Serenade, 1979 lithograph Edition: 105/175 $4,500.00

Mecklenberg Autumn, 1979 lithograph Edition: 23/175 $3,800.00 5. Mecklenberg Autumn, 1979 lithograph (framed to 35 ½ x 30 ¼ inches) Edition: 27/175 SOLD

Louisiana Serenade, 1979 lithograph Edition: 156/175 $4,500.00

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Mecklenberg Autumn, 1979 lithograph Edition: 42/175 $3,800.00

Morning (Carolina Morning), 1979 lithograph Edition: 5/175 $4,700.00

Mecklenberg Autumn, 1979 lithograph Edition: 43/175 $3,800.00

Morning (Carolina Morning), 1979 Lithograph Edition: 6/175 SOLD

Mecklenberg Autumn, 1979 lithograph Edition: 44/175 $3,800.00

Morning (Carolina Morning), 1979 lithograph (framed to 25 x 30 inches) Edition: 22/175 $4,700.00

Mecklenberg Autumn, 1979 lithograph Edition: 45/175 $3,800.00

Mother and Child, 1980 lithograph (framed to 29 ¼ X 24 ¾ inches) Edition: HC SOLD

Mecklenberg Autumn, 1979 lithograph Edition: 46/175 $3,800.00

The Olympics, 1976 screenprint (framed to 48 ½ X 33 inches) Edition: 130/200 $3,000.00

Memories monoprint (framed to 31 x 35 inches) Edition: 1/1 $25,000.00

Open Door, 1979 lithograph (framed to 30 ¾ x 23) Edition: 169/175 $6,900.00

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Open Door, 1979 lithograph Edition: 11/175 $6,600.00

Pepper Jelly Lady, ca 1975 lithograph (framed to 35 ½ X 30 ¼ inches) Edition: 86/150 SOLD

Out Chorus, 1979-1980 etching, aquatint, screenprint Edition: 49/200 $10,200.00

Pilate (Misty Island), 1979 Lithograph Edition: 4/300 $4,200.00

Out Chorus, 1979-1980 etching, aquatint, screenprint (framed to 23 ½ x 41 ¼ inches) Edition: 64/200 $10,500.00

Processional, 1983 screenprint (framed to 31 X 26 ½ inches) Edition:109/150 $4,500.00

Out Chorus (Rhythm Section), 1979 lithograph Edition: 97/175 $3,500.00 Out Chorus (Rhythm Section), 1979 lithograph (framed to 33 ½ X 42 ½ inches) Edition: 98/175 $3,500.00 Out Chorus, 1979-1980 etching, aquatint, screenprint (framed to 27 X 33 inches) Edition: 146/200 $10,200.00

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Quilting Time, 1979 lithograph (framed to 29 x 34 inches) Edition: 174/175 $8,600.00 Quilting Time, 1979 Lithograph Edition: PP $8,200.00 Roots, 1977 lithograph (framed to 29 ¼ x 21 inches) Edition: 141/150 $9,500.00

Slave Ship, 1977 screenprint Edition: 125/144 $10,200.00 Sorcerer’s Village (Sorcerer: African Fantasy), 1972 screenprint (framed to 27 ¼ x 30) inches) Edition: 59/125 $5,500.00 Stomp Time (Solo Player), 1979 lithograph Edition: 76/175 $3,500.00 Stomp Time (Solo Player), 1979 lithograph (framed to 33 ½ x 42 ½ inches) Edition: 108/175 $3,500.00 Storyville: Piano Interlude, 1980 paper collage/paint (framed to 12 x 15 inches) $30,000.00 Sunday Morning at Avila, ca 1979-1980 etching Edition: 74/100 $4,500.00

Sword Fighter, 1948 pen and ink (framed to 34 x 28 inches) SOLD Tenor Sermon, 1979 lithograph Edition: 58/175 $3,500.00 Tenor Sermon, 1979 lithograph (framed to 34 ¼ x 43 ¾ inches) Edition: 168/175 $3,500.00 Tenor Sermon, 1979 lithograph Edition: 169/175 SOLD Three Women (Easter Sunday), 1979 lithograph Edition: HC 13/25 $3,800.00 The Train, 1974 etching and aquatint (framed to 29 x 32 ½ inches) Edition: 15/125 $18,000.00

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Tropical Flowers, ca 1971-1972 aquatint (framed to 25 ¾ x 32 ¼ inches) Edition: 21/100 $6,000.00 Two Women, 1981-1982 screenprint (framed to 33 ½ x 24 ½ inches) Edition: 63/120 SOLD

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Terms of Sale 1. All items are sold as is, where is, with all faults. There are no warranties or representations of merchantability of fitness nor of any other kind, express or implied.

All works are available for examination, however, works included in the exhibition may be examined prior to April 1, 2014 or after June 22, 2014; all other prints are available for examination upon request.

2. Payment must be made by cash, approved check, wire transfer or MasterCard, Visa, Discover or American Express Credit Cards. We reserve the right to require bank checks for large purchases.

3. Payment for all purchases is expected at time of purchase. For works included in the exhibition, Greenhill will retain possession of artwork until June 23, 2014.

4. All purchases are subject to applicable North Carolina sales tax unless the North Carolina Certificate of Resale tax form is fully and completely filled out and received prior to time of purchase. Resale tax numbers from other states are accepted.

International buyers are responsible for tariffs, taxes, or assessments of shipped items to the buyer’s country.

5. Purchaser agrees that packing and shipping is done at the purchaser’s risk and that the purchaser will pay in advance all packing expenses, materials, carrier fees and insurance charges. At our discretion, items will either be packed by an agent such as a packaging store or Greenhill. Please allow two weeks for shipping after payment is received. Greenhill will have no liability for any loss or damage to shipped items.

6. Purchased items not picked up from Greenhill within sixty days after the close of the exhibition, a storage fee will be assessed a storage fee of $5.00 per day, per item.

7. Greenhill is normally closed on Mondays.

Please arrange appointments for other days.

8. Pre Exhibition Sales: All works in Select Collection | Prints of Romare Bearden are available for sale. For unframed works, buyer may take immediate possession. The framed works are all included in the exhibition running 4/15 - 6/22/2014. If you would like to purchase one of these works in advance of the exhibition, Greenhill will hold the work until 6/23/2014 and will note the work is “on loan” from private collector.

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Glossary of Selected Printmaking Terms Approval Print: see bon à tirer.

Aquatint: An intaglio technique in which gradations of tone or shadow are produced rather than sharp lines; often this technique is used in conjunction with etching for images that can resemble water washes.

In this process the artist applies a granular, acid-resistant ground to the plate before submerging it in an acid bath that “bites” in and around the granules creating large areas of texture. The use of grounds with varying granule sizes produces different degrees of tone.

Artist’s Proof (AP): An artist’s proof is typically one of the first proofs from a limited edition of prints, for the artist’s own copyright use, and marked as an A.P., and not numbered. Artist’s proofs generally draw a higher price than other impressions.

Bon à Tirer (BAT): Literally “ready to pull,” the B.A.T. is the final trial proof—approved by the artist— which tells the printer exactly how the edition should look. Each impression in the edition is matched to or modeled after the B.A.T. This proof is used principally when someone other than the artist is printing the series. There is only one of these proofs for an edition.

Note: Prints marked “bon à tirer” in this collection would elsewhere be identified as “working proofs.” The “approval print” in this collection, Carolina Memory, might more typically be identified as a “bon à tirer.”

Chop: A symbol, or logo, that is either embossed or stamped on each print of a finished edition, including all proofs, as a way to identify the printer and publisher of the edition. A printer will often have his/her own individual chop that is separate from the publisher’s chop.

Edition: The set of identical impressions (prints) made from an individual matrix created by the artist, either working alone or in conjunction with a master printer.

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Etching: With a visual result similar to drawing, etched lines are usually free with blunt terminations as a result of the artist drawing with a sharp tool through a soft, often wax-based, ground coated on the plate. Volume and contour is created using a technique called hatching, where the artist changes the spaces, angles, lengths and qualities of the lines The plate is then placed into an acid bath, where the acid eats away, or “bites,” the exposed metal of the incised lines leaving the areas that are coated with ground untouched.

The artist can achieve a broad range of tonality with etching by controlling the time the plate spends in the acid-bath.

Hors Commerce (HC): These proofs started to appear on the market as extensions of editions printed in the late 1960’s. They may differ from the edition by being printed on a different kind of paper or with a variant inking; however, they may also not differ at all. As their name indicates, these “proofs” are generally “not for sale.” Publishers use such impressions as exhibition copies, thereby preserving the numbered impressions from overexposure or rough handling.

Intaglio: The term intaglio comes from the Italian word intagliare, meaning “to incise.”

In this technique, acid or a pointed tool is used to incise the composition into a metal plate, usually made of copper, but sometimes of steel, iron or zinc. After the image has been drawn, the plate is covered with ink, and then wiped so that only the incised areas contain ink. The pressure of the press forces the paper into the incisions where they pick up the ink, resulting in the raised character of the lines on the impression. Because often the sheet of paper is larger than the plate, an indentation of the plate edges, or platemark, appears around the edges of the image area. The different types of intaglio prints are distinguished by the technique used: etching, aquatint, and photogravure are made using acid to corrode the metal plate, while engraving, drypoint, and mezzotint are made using a sharp tool to incise, or scratch, the surface of the plate.

Often several different intaglio techniques are used in the same print to achieve variations in contrast and tone.

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Lithograph: Literally meaning “stone drawing,” this type of print is made by drawing or painting onto the surface of a limestone using a greasy crayon or liquid wash and is best known for its flat painterly surface. Because lithography is planographic, the resultant design lies on the surface of the paper, rather than pressed in or raised up from the page, as in other techniques appear smooth and uniform in tone. It is possible to use multiple s in a lithograph, each as in the other techniques described here, requiring its own stone and several subsequent runs through the press. A zincograph is a print made by the same process, the only difference being that the artist uses a zinc plate rather than a stone as the surface of the composition.

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Monoprint: Monoprints are made when an artist alters the image on an already etched and inked plate by adding ink to the surface. When printed, this addition produces an impression that appears different from a conventionally printed impression from the same plate. By manipulating the ink on the plate in each successive printing, the artist creates a series of unique impressions.

Numbering: While the numbering of individual impressions (prints) can be found as early as the late nineteenth century, it did not become standard practice until the mid-1960s. Before steel facing and other ways of preserving plates for longer print runs, the order in which the edition was printed was important. Today, all limited edition prints should be numbered, and because of advancements in technology and a printer’s ability to print reciprocal, identical images, the numbering sequence is no longer intended to reflect the order of printing. Numbering is transcribed as a fraction with the top number signifying the number of that particular print and the bottom number representing the total number of prints in the edition. The edition number does not include proofs, but only the total number of prints in the numbered edition.

Printer’s Proof (PP): A complimentary proof given to the printer; there can be one or several of these proofs, depending upon the number of printers involved and the generosity of the publisher.

Proof: This term generally refers to any impression pulled before the official printed edition of an image. The artist may make changes to the image after examining a proof, much like an author makes changes to a rough draft of a manuscript before sending it to the publisher. Once the image is the way the artist wants it to be, it will be the model for the finished edition. Read more about proofs: artist’s proofs, Bon à Tirer, Hors Commerce, printer’s proof, trial proof.

Trial Proof: An impression pulled before the edition in order to see what the print looks like at that stage of development, after which the artist may go back to the matrix and make adjustments. There can be any number of trial proofs, depending upon how a particular artist works, but it is usually a small amount and each one usually differs from the others. In French, a trial proof is called an epreuve d’essai, in German, Probedruck.

Screenprint: A process based on the stencil principle in which material is attached to a mesh screen to block the flow of ink to the paper in that particular area. A squeegee is used to force the paint or ink through the exposed areas of the mesh screen. A separate screen is required for each in the artist’s composition and the same piece of paper is printed with each screen in succession. The resultant image is simple, yet bold and often has a graphic quality.

Sources: International Fine Print Dealers Association (IFPDA) and ArtLex

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