Unsold Lots

BLACK ART AUCTION Unsold Lots

BLACK ART AUCTION UNSOLD LOTS The following works are available for purchase. Prices do not include shipping.

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UPCOMING EVENTS February 6, 2021 • WORKS ON PAPER AND 3-D May 2021 • AFRICAN AMERICAN FINE ART

HERMAN “KOFI” BAILEY (1931-1981) Untitled, c. 1970 charcoal and conté crayon on illustration board 33 x 24 inches (image 36-1/2 x 26-1/2 (board) signed inscribed verso, U.N. N.Y. $2,800 (A 25% Buyer’s Premium will be added)

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ERNIE BARNES (1938-2009 ) Untitled, c. 1975 oil on canvas 39 x 46-1/2 inches inscribed verso (in pencil by Jack Palance: “Lily, from Grandpa, Nov. ’87” and a sketch of a face, also presumably drawn by Palance). Actor Jack Palance was a close friend of the artist and collector of his work.

Provenance: The estate of Jack Palance. This work was confirmed by Luz Rodriguez, the cotrustee of the artist’s estate, to be an authentic work by Ernie Barnes. $18,000 (A 25% Buyer’s Premium will be added)

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ERNIE BARNES (1938-2009 ) Football Players, c. 1975 oil on canvas 36 x 48 inches signed label verso, The Collection of Jack Palance Provenance: Heritage Gallery, Los Angeles to private collection, NJ $30,000 (A 25% Buyer’s Premium will be added)

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RICHMOND BARTHÉ (1901-1989) Head of a Dancer (Harald Kreutzberg), 1937 cast bronze with brown patina 12-1/4 inches high (without base) signed and numbered 26 Provenance: Purchased by consignor from Adolphus Ealey, Director of the Barnett-Aden Gallery in 1979.

Literature: Barnett-Aden Collection, Smithsonian Institution Press, 1940; p. 40 (a plaster cast) Walter O. Evans Collection of African American Art, Beach Institute/King-Tindell Museum, Savannah, GA, 1991; p. 50. (bronze version; dated 1937) $18,000 (A 25% Buyer’s Premium will be added)

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ROMARE BEARDEN (1911-1988) Storyville Series, c. 1975 monotype (unique) 28 x 39-1/2 inches signed $18,000 (A 25% Buyer’s Premium will be added)

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ROMARE BEARDEN (1911-1988) Untitled (from the Iliad series), c. 1948 watercolor, gouache, brush and ink on cream wove paper 24 x 18 inches (image) signed $20,000 (A 25% Buyer’s Premium will be added)

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CLEVELAND BELLOW (1946-2009) Catch a Falling Star (Tammi Terrell), 1973 acrylic and screenprint on board 36 x 80 inches signed and dated $30,000 (A 25% Buyer’s Premium will be added)

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DAWOUD BEY (b.1953) Photographs from the Harlem USA portfolio, 2005 carbon pigment prints on acid free Hanhemühle Rag paper, printed by Black Point Editions, Chicago, 2005, from photographer’s original negatives and vintage prints 20 x 16 inches (sheet size) from an edition of 15 with 5 Artist Proofs all signed, dated, and numbered 1/15 verso

A Man in a Bowler Hat, 1976 carbon pigment print on acid free Hanhemühle Rag paper 6-3/8 x 9-1/2 inches (image) 20 x 16 inches (sheet) signed, dated, and numbered 1/15 verso $3,500 (A 25% Buyer’s Premium will be added)

Two Women at a Parade, 1978 carbon pigment print on acid free Hanhemühle Rag paper 6-3/8 x 9-1/2 inches (image) 20 x 16 inches (sheet) signed, dated, and numbered 1/15 verso

A Woman With Hanging Overalls, 1978 carbon pigment print on acid free Hanhemühle Rag paper 6-3/8 x 9-1/2 inches (image) 20 x 16 inches (sheet) signed, dated, and numbered 1/15 verso

$3,500 (A 25% Buyer’s Premium will be added)

$3,500 (A 25% Buyer’s Premium will be added)

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ALEXANDER SKUNDER BOGHOSSIAN (1937-2003) Untitled, c. 1978 acrylic and metallic paint on tar paper laid down on board (original) 43 x 28 inches, signed and dated Provenance: Dr. and Mrs. Robert Galloway, TX $20,000 (A 25% Buyer’s Premium will be added)

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SYLVESTER BRITTON (1926-2009) African Mask, c. 1975 acrylic on board 36 x 30 inches signed Provenance: Harold Woodson, Jr. ; the historical Woodson Family Collection (Harold Woodson, Jr., Susan Cayton Woodson, and Horace Cayton), Chicago. Acquired directly from the artist. $2,000 (A 25% Buyer’s Premium will be added)

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MARGARET BURROUGHS (1917-2010) Portrait of Booker T. Washington, 1950 oil on canvasboard 24 x 18 inches signed and dated $5,500 (A 25% Buyer’s Premium will be added)

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WILLIAM CARTER (1909-1996) Three Figures, 1958 oil on masonite 24 x 20 inches signed and dated Provenance: Harold Woodson, Jr. ; the historical Woodson Family Collection (Harold Woodson, Jr., Susan Cayton Woodson, and Horace Cayton), Chicago. Acquired directly from the artist. $2,000 (A 25% Buyer’s Premium will be added)

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ELIZABETH CATLETT (1915-2012) Mother and Child, 1980 bronze on wood base 23 inches high (figure) 2-3/4 inches high (base only) signed and dated Exhibited and illustrated: Elizabeth Catlett, A Fifty-Year Retrospective, Neuberger Museum of Art, Purchase College, State University of New York, February 8-June 7, 1998 (the exhibition traveled to Blaffer Gallery, University of Houston, TX; Baltimore Museum of Art, MD; Museo de Arte Moderno, Mexico City, Mexico; and Spelman College Museum of Fine Art, Atlanta, GA); p. 78 (cat. #36).

Note: This is the exact sculpture included in the book and exhibition, however, the catalog incorrectly states the date as 1978. $45,000 (A 25% Buyer’s Premium will be added)

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ELIZABETH CATLETT (1915-2012) Harlem Woman, 1992 lithograph and collage 30 x 22 inches signed, titled, dated, and numbered 1/40 Provenance: The collection of Faith Grobman, New Jersey.

Literature: Elizabeth Catlett, Works on Paper, 1944-1992, Jeanne Ziedler, Hampton University Museum, p. 44 $4,000 (A 25% Buyer’s Premium will be added)

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ELIZABETH CATLETT (1915-2012) Naima, 1998 bronze on wood base 9-1/2 x 8 x 8-1/2 inches initialed Provenance: Private collection, Dallas, TX This image depicts one of the artist’s twin granddaughters, Naima Mora, who was the winner of America’s Next Top Model in 2005. $20,000 (A 25% Buyer’s Premium will be added)

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KEVIN COLE (b. 1960) Mixed Circumstances I, 2017 mixed media on wood 36 x 60 x 7 inches $10,000 (A 25% Buyer’s Premium will be added)

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ELDZIER CORTOR (1916-2015) Compositional Image 2, c. 1970 oil on canvas 11 x 14 inches signed; signed and titled on stretcher Provenance: The Collection of Philip J. and Suzanne Schiller, Highland Park, IL $25,000 (A 25% Buyer’s Premium will be added)

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ELDZIER CORTOR (1916-2015) Marché Assemblage III, c. 1985 oil on canvas 20 x 17-1/2 inches signed original frame Provenance: Corrine Jennings to Faith Grobman, New Jersey $50,000 (A 25% Buyer’s Premium will be added)

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ERNEST CRICHLOW (1914-2005) Girl at Window, 1965 oil on masonite 36 x 24 inches signed and dated; original frame Literature: Ernest Crichlow: a life in art: May 4 to June 17, 2000: The Skylight Gallery, Center for Arts and Culture, Bedford Stuyvesant Restoration Corp., 2000. $15,000 (A 25% Buyer’s Premium will be added)

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ERNEST CRICHLOW (1914-2005) Young Girl, 1987 acrylic on board 22 x 18-1/2 inches signed and dated Provenance: The collection of Faith Grobman, New Jersey. $9,000 (A 25% Buyer’s Premium will be added)

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ULYSSES DAVIS (1913-1990) Four Roses of Eternal Life for JFK, n.d. carved wood 27-1/2 x 14-3/4 x 14-3/4 inches Provenance: The Collection of Jane and Bert Hunecke Literature: The Treasure of Ulysses Davis: Sculpture from a Savannah Barbershop, High Museum of Art, Atlanta, 2008, cat no. 115, p. 109.

This lot is accompanied by the book The Treasure of Ulysses Davis: Sculpture from a Savannah Barbershop, High Museum of Art, Atlanta, 2008 $10,000 (A 25% Buyer’s Premium will be added)

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REGINALD GAMMON (1921-2005 ) Alienation, 1965 acrylic on canvas 42 x 32 inches signed and dated Provenance: The estate of the artist $16,000 (A 25% Buyer’s Premium will be added)

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HERBERT GENTRY (1919-2003) Untitled (Abstract), 1971 mixed media on paper 24-1/2 x 18 inches signed and dated $6,500 (A 25% Buyer’s Premium will be added)

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DEBORAH GRANT (b. 1968) Giant, 2002 enamel and adhesive letters on chalkboard 23 x 17 inches signed, dated, titled verso label verso from Arena Gallery, NYC $2,000 (A 25% Buyer’s Premium will be added)

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INGE HARDISON (1904-2016) Lot of two works Portrait Bust of Benjamin Banneker, 1968 from the Old Taylor Series, Ingenious Americans painted plaster 8-7/8 inches x 3-3/4 x 5-1/2 inches signed and dated subject is identified by a label on bottom Portrait Bust of Matthew Henson,1966 from the Old Taylor Series, Ingenious Americans painted plaster 8-7/8 x 5 x 5 inches signed and dated subject is identified by label on bottom Provenance: Artist to private collection, NY to Armand-Paul Family Collection, NY $1,000 (A 25% Buyer’s Premium will be added)

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JOHN WESLEY HARDRICK (1891-1968) Indianapolis Street Scene, c. 1940 oil on board 15 x 11-1/2 inches signed A work nearly identical to this is in the collection of the Indiana Historical Society, which was included in the exhibition, A Shared Heritage, Art by Four African Americans (Indianapolis Museum of Art), 1996. $6,500 (A 25% Buyer’s Premium will be added)

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JOHN WESLEY HARDRICK (1891-1968) Road through Brown County, Indiana, 1942 oil on board 24 x 36 inches signed and dated Exhibited: Indiana State Museum, 2007 label verso $4,000 (A 25% Buyer’s Premium will be added)

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BERNARD HARMON (1935-1989) Snap Peas, 1955 oil on board 24 x 36 inches signed $6,000 (A 25% Buyer’s Premium will be added)

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ROBIN HOLDER (b. 1952) They Damaged Us More Than Katrina, 2006 color serigraph 26-1/4 x 18-7/8 inches (image) 30 x 22 inches (full sheet) published by Raven Fine Art Editions, Curlee Raven Holton, master printer signed, titled, numbered 54/70 $1,200 (A 25% Buyer’s Premium will be added)

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AL HOLLINGSWORTH (1928-2000) Woman in a Flower Garden, c. 1965 34 x 33 inches oil on masonite signed, label verso Harbor Gallery, Cold Spring Harbor LI $5,500 (A 25% Buyer’s Premium will be added)

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OLIVER JACKSON (b. 1935) Untitled, 1985 oil stick on gessoed paper 42 x 48 inches (image); 54 x 48 inches (framed size) signed and dated Provenance: Collection of Julia E. Harris, Chicago; Acquired directly from the artist. $17,000 (A 25% Buyer’s Premium will be added)

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SARGENT JOHNSON (1888-1967) Metal and enamel decorative wall sculpture with abstract motif, c. 1950 9 x 37 x 3/4 inches signed Provenance: Charlotte Irvine, thence by descent.

Johnson was commissioned by Charlotte Irvine to execute this work to be placed above her fireplace in her home in Stinson Beach, CA. $18,000 (A 25% Buyer’s Premium will be added) Catalog note: The black abstract shapes in the background are actually cutouts in the metal, and the black backing board is visible. This work was originally built-in to the masonry of Ms. Irvine’s fireplace. It is currently framed and fitted to hang on a wall as a typical plaque, but it may also be built back into a fireplace. The material is inherently heat resistant.

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LOIS MAILOU JONES (1905-1998) Automne, c. 1950 oil on canvas 10 x 13 inches signed $5,000 (A 25% Buyer’s Premium will be added)

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CLIFF JOSEPH (1922-2020) The Fire Next Time, 1965 oil on canvasboard 21-1/2 x 30 inches signed; signed, titled, and dated verso Literature: Cliff Joseph: Artist & Activist, Thom Pegg, 2018, pp. 40-41. $10,000 (A 25% Buyer’s Premium will be added)

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JACOB LAWRENCE (1917-2000) 15 PRINTS BASED ON PAINTINGS FROM THE LIFE OF TOUSSAINT L’OUVERTURE SERIES, 1986-1997 Published by the Amistad Research Center, New Orleans Printed by Workshop, Inc., Washington DC (Lou Stovall, master printer) All illustrated in: Jacob Lawrence, The Complete Prints (1963-2000), Peter T. Nesbett, 2001; pp. 71-85.

Provenance: The collection of Preston Edwards, New Orleans. $80,000 (A 25% Buyer’s Premium will be added)

General Toussaint L’Ouverture, 1986 silkscreen on Bainbridge Two Ply Rag paper through hand-cut film and brushed lacquer stencils, screens destroyed 28-3/8 x 18-1/2 inches (image) 32-1/8 x 22 inches (sheet) signed and dated titled L’Ouverture annotated C/P 1/1 L86-2 This print is based on the twentieth image from the original series of 41 paintings. (Nesbett, 72) Toussaint L’Ouverture was born into slavery in 1743 in the French colony of Saint-Domingue (now Haiti). He led a slave rebellion in 1791 and eventually gained control of the island. He improved the economy and maintained a well-disciplined army. In 1801, he helped promulgate a democratic constitution for the colony.

He was named Governor-General for Life, much against Napoleon Bonaparte’s wishes.

In 1802, he was invited to parley with the French, but was arrested with perfidy and deported to Paris, where he was thrown in Fort de Joux prison. Exposed to horrendous conditions, he died in 1803, sadly only a year before the French capitulated and Haiti became a sovereign state (1804).

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JACOB LAWRENCE (1917-2000) The Birth of Toussaint L’Ouverture, 1986 silkscreen on Bainbridge Two Ply Rag paper through hand-cut film stencils, screens destroyed 28-1/2 x 18-1/2 inches (image) 32-1/8 x 22 inches (sheet) signed and dated titled The Birth of Toussaint numbered 60/100 L86-1 This print is based on the sixth image from the original series of 41 paintings. (Nesbett, 71) The Capture, 1987 silkscreen on Bainbridge Two Ply Rag paper through hand-cut film stencils, screens destroyed 28-1/4 x 18-3/8 inches (image) 32-1/8 x 22 inches (sheet) signed, titled, dated, and numbered 117/120 L87-2 This print is based on the seventeenth image from the original series of 41 paintings. (Nesbett, 73)

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To Preserve Their Freedom, 1988 silkscreen on Bainbridge Two Ply Rag paper through hand-cut film stencils, screens destroyed 18-1/2 x 28-3/4 inches (image) 22 x 32-1/8 inches (sheet) signed, titled, dated, and numbered 74/99 L88-2 This print is based on the thirty-eighth image from the original series of 41 paintings. The image differs significantly from the original painting. Lawrence added the wound to the central figure, reconfigured the sky and foliage, and incorporated bright red and yellow into the composition. (Nesbett, 74)

JACOB LAWRENCE (1917-2000)

Toussaint at Ennery, 1989 silkscreen on Bainbridge Two Ply Rag paper through hand-cut film stencils, screens destroyed 18-5/8 x 29 inches (image) 22 x 32-1/8 inches (sheet) signed, titled, dated, and numbered 96/99 L89-3 This print is based on the thirty-fourth image from the original series of 41 paintings. Though several changes have been made to the forms of the horses and riders, the most significant alterations are in the palette. The colors of the ground, sky, hats, and sabres have been altered. Lawrence added red, blue, and yellow to the composition, turning the foliage in the foreground to flames. (Nesbett, 75)

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The Coachman, 1990 silkscreen on Bainbridge Two Ply Rag paper through hand-cut film stencils, screens destroyed 28-1/4 x 18-3/8 inches (image) 32-1/8 x 22 inches (sheet) signed, titled, dated, and numbered 44/99 L90-4 This print is based on the eighth image from the original series of 41 paintings. The only change Lawrence made to the this image while executing the screenprint was to add more blue to the background color.

(Nesbett, 76)

JACOB LAWRENCE (1917-2000)

Dondon, 1992 silkscreen on Bainbridge Two Ply Rag paper through hand-cut film stencils, screens destroyed 18-5/8 x 29 inches (image) 22 x 32 inches (sheet) signed, titled, dated, and numbered 31/124 L92-2 This print is based on the sixteenth image from the original series of 41 paintings. Lawrence made several changes to this image while executing the screenprint: he increased the prominence of the foliage in the foreground, altered the form and features of the horse, and added red to the composition. (Nesbett, 77)

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Contemplation, 1993 silkscreen on Bainbridge Two Ply Rag paper through hand-cut film stencils, screens destroyed 28-3/8 x 18-1/2 inches (image) 32 x 22 inches (sheet) signed, titled, dated, and numbered 19/120 L93-2 This print is based on the twenty-seventh image from the original series of 41 paintings. Lawrence made a number of changes to the image during the execution of the screenprint. In the original painting, Toussaint wears a white shirt, the background is solid green, and the candle burns a yellow flame and drips no wax.

There is no red in the original. (Nesbett, 78)

JACOB LAWRENCE (1917-2000)

St. Marc, 1994 silkscreen on Bainbridge Two Ply Rag paper through hand-cut film stencils, screens destroyed 28-1/2 x 18-1/2 inches (image) 32-1/8 x 22-1/8 inches (sheet) signed, titled, dated, and numbered 22/120 L94-3 This print is based on the twenty-second image from the original series of 41 paintings. The many changes to the image during the creation of the print include extensive alterations to the foliage, the horse, and the overall color palette. (Nesbett, 79)

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Strategy, 1994 silkscreen on Bainbridge Two Ply Rag paper through hand-cut film stencils, screens destroyed 18-1/2 x 28-5/8 inches (image) 22-1/8 x 32-1/8 inches (sheet) signed, titled, dated, and numbered 71/120 L94-4 This print is based on the fourteenth image from the original series of 41 paintings. (Nesbett, 80)

JACOB LAWRENCE (1917-2000)

The March, 1995 silkscreen on Bainbridge Two Ply Rag paper through hand-cut film stencils, screens destroyed 18 x 28 inches (image) 22-1/8 x 32-1/8 inches (sheet) signed, titled, dated, and numbered 36/120 L95-2 This print is based on the twenty-third image from the original series of 41 paintings. The most significant changes that were made during the creation of the print can be seen in the sky and the addition of red in the foliage. (Nesbett, 81)

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Flotilla, 1996 silkscreen on Bainbridge Two Ply Rag paper through hand-cut film stencils, screens destroyed 18-3/8 x 28-7/8 inches (image) 22-1/4 x 32-1/4 inches (sheet) signed, titled, dated, and numbered 70/120 L96-6 This print is based on the thirty-first image from the original series of 41 paintings. (Nesbett, 82)

JACOB LAWRENCE (1917-2000)

Deception, 1997 silkscreen on Bainbridge Two Ply Rag paper through hand-cut film stencils, screens destroyed 18-1/2 x 28-3/4 inches (image) 22-1/4 x 32-1/4 inches (sheet) signed, titled, dated, and numbered 88/125 L97-3 This print is based on the thirty-sixth image from the original series of 41 paintings. (Nesbett, 83)

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The Burning, 1997 silkscreen on Bainbridge Two Ply Rag paper through hand-cut film stencils, screens destroyed 18-1/2 x 29 inches (image) 22-1/8 x 32-1/8 inches (sheet) signed, titled, dated, and numbered 114/125 L97-4 This print is based on the thirty-second image from the original series of 41 paintings. The treatment of the sky and the color palette differ significantly from the painting. (Nesbett, 84)

JACOB LAWRENCE (1917-2000)

The Opener, 1997 silkscreen on Bainbridge Two Ply Rag paper through hand-cut film stencils, screens destroyed 18-3/4 x 28-3/4 inches (image) 22-1/4 x 32-1/8 inches (sheet) signed, titled, dated, and numbered 116/125 L97-5 This print is based on the twenty-first image from the original series of 41 paintings. (Nesbett, 85)

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HUGHIE LEE-SMITH (1915-1999) Nocturne, 1995 color lithograph 26 x 36 inches published by Mojo Portfolio signed, dated, and numbered 5/175 Provenance: The collection of Faith Grobman, New Jersey. $2,500 (A 25% Buyer’s Premium will be added)

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AL LOVING (1935-2005) Untitled (Abstract), 1984 acrylic and elements of collage on handmade paper 34 x 31-1/4 inches signed and dated Provenance: Collection of Julia E. Harris, Chicago, acquired directly from the artist $12,000 (A 25% Buyer’s Premium will be added)

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AL LOVING (1935-2005) Monumental Wall Assembly (preliminary drawing), c. 1968 colored pencil and graphite on paper 15 x 20 inches signed and titled Provenance: Gertrude Kasle Gallery, Detroit to a private collection Detroit.

Gertrude Kasle Gallery opened in 1965 in Detroit, handling the work of such artists as Willem de Kooning, Helen Frankenthaler, Larry Rivers, Grace Hartigan, Robert Goodnough, Robert Natkin, and of course, Al Loving. The gallery operated for 11 years, and Loving exhibited there June 15-July 7, 1969 and September 12-October 7, 1970. The 1969 show was the artist’s first solo exhibit—the same year he had a solo exhibit at the Whitney Museum of American Art. $7,000 (A 25% Buyer’s Premium will be added)

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KEITH MORRISON (b.1942 ) Goldfishing in the Night, 1983 oil on canvas 46 x 58 signed and dated Provenance: The collection of Julia E. Harris, Chicago; Acquired directly from the artist. $12,000 (A 25% Buyer’s Premium will be added)

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JOHN T. SCOTT (1940-2007) Shango’s Necklace, 1984 kinetic sculpture painted brass, steel, and wood on a flagstone base 19 x 10 x 5-3/4 inches (including base) signed and dated on base Collection of Julia E. Harris, Chicago; Acquired directly from the artist. $4,500 (A 25% Buyer’s Premium will be added)

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CHERYL WARRICK (b. 1956) Descrete, 1987 acrylic on canvas 14 x 11 inches signed, titled, and dated verso Provenance: Collection of Julia E. Harris, Chicago; Acquired directly from the artist. $1,800 (A 25% Buyer’s Premium will be added)

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CHARLES WHITE (1918-1979) Standing Man, 1934 watercolor on cream wove paper 10 x 8 inches signed Heritage Gallery, Los Angeles label verso $4,500 (A 25% Buyer’s Premium will be added) Portrait of a Man in a Green Jacket, 1934 watercolor on cream wove paper 7-1/4 x 9-1/2 inches Heritage Gallery, Los Angeles label verso $4,500 (A 25% Buyer’s Premium will be added)

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