RESULTS: Swann's African-American Fine Art Sale 2442

There was a standing-room only crowd at Swann Galleries' spring auction of African-American Fine Art on Thursday, April 6, 2017. Sale 2442, the most recent Swann Auction Galleries' African-American Fine Art Sale brought in $2,522,705 with Buyer’s Premium, exceeding its pre-sale low estimate of $1,982,300 by over $540,000. Of the 181 lots that were offered at auction, 138 sold (76% sell-through rate by lot). Nigel Freeman, founder and director of the African-American Fine Art department at Swann Galleries, said “I am thrilled with this sale’s strong results. We saw great activity with bidding often exceeding the high estimate, and several record prices. We continue to build on our strengths with both modern and post-war artists, surpassing our previous records with artworks from the 1930s through the ‘70s.” 

Lot 102: David Hammons, Untitled (Double Body Print Collage),

pigment and ink on paper and printed  paper collage on cardboard,

1976. 30"x 40". Photograph: Swann Auction Galleries

  

Six of the top lots either reached or exceeded $100,000; this post will focus on those lots. Lot 102, David Hammons' Untitled (Double Body Print Collage), had a pre-sale estimate of $200,000 - $300,000 and sold for $389,000 with Buyer's Premium. "This striking body print is an excellent example of David Hammons' mid-1970s incorporation of collage, and only the second double body print by the artist to ever come to auction." The Double Body Print Collage was purchased by a collector. 

 

Lot 101: David Hammons, Untitled (Body Print), pigment and graphite on wove paper,

circa 1975-77. 26" x 21". Photograph: Swann Auction Galleries

Another piece of art by David Hammons appeared in the top selling category of artworks sold in sale 2442. Lot 101, an Untitled (Body Print), dating circa 1975 -1977 had a pre-sale estimate of $60,000 - $90,000; it sold with a Buyer's Premium for $161,000 to a collector. This body print which is a colorful work on paper includes three impressions of the artist's face.

  

Lot 112: Alvin D. Loving, Jr. Untitled, diptych of acrylic on shaped cotton canvas, 1968. Approximately

59½" x 69" and 62"x 69" (two irregular hexagons); together 62" x 138". Photograph: Swann Auction Galleries

All five works by graphic abstractionist Alvin D. Loving, Jr. found homes, with nearly all selling above their estimates. A monumental untitled diptych of two hexagonal canvases broke the artist’s previous auction record, selling to a phone bidder (collector) for $161,000. Lot 112 had pre-sale estimate of $80,000 - $120,000. 

Lot 139: Frank Bowling, Morning Light, acrylic on cotton canvas,

1974. 76½" x 46½". Photograph: Swann Auction Galleries

Morning Light, a brilliantly colored abstraction by Frank Bowling, is an early example of his mid-1970s series of poured paintings. Lot 139, which was a luminous poured painting, sold for $161,000 and was a record for the artist. Morning Light, an acrylic on canvas, had a pre-sale estimate of $60,000 - $90,000; it was purchased by a collector. 

Lot 169: Hughie Lee-Smith, Silhouette, oil on  linen canvas,

1995. 42" x 50". Photograph: Swann Auction Galleries

Lot 169: Silhouette, a large oil on linen canvas, epitomizes the Surrealism found in Hughie Lee Smith's late-career painting. This paining had a pre-sale estimate of $60,000 - $90,000; it sold to a dealer for $161,000. 

Lot 13: Sargent Johnson, Untitled (Negro Mother), copper with paint,

1935 -36. Approximately 12" x 6½"x 2". Photograph: Swann Auction Galleries

"Untitled (Negro Mother) is an excellent and very scarce work in copper repoussé by Sargent Johnson from the mid-1930s. In this defining mid-career body of work, Johnson incorporated themes from African sculpture and modernist design to create powerful representations of African-American womanhood...." Lot 13, Untitled (Negro Mother), had a pre-sale estimate of $80,000 - $120,000. Attaining an artist record, it was sold to a dealer for $100,000.  

The next sale of African-American Fine Art at Swann Galleries will be held in October 2017. For more information, contact Nigel Freeman at nfreeman@swanngalleries.com. 

From the Archives: Black Enterprise (December 1980)

In gathering notes for another piece that I am working on, Gallery 62: National Urban League, I surreptitiously stumbled upon the following articles in Black Enterprise (December 1980) and because of their timeliness, decided to share them with BAP readers. The link to this issue of Black Enterprise was provided by Google Books. The following articles, relating to the visual arts, are highlighted: 

• Publisher's Page, Investing in Our Culture by Earl Graves (page 9). There is a strong focus on the visual arts within this issue. It serves as a celebration of the fine arts as it celebrates the visual artists, highlighting the challenges that these artists face in light of the rewards they offer viewers in general and the collector in particular; and the role of the corporate collector and the impact that they can have, as they are offered an opportunity to combine pleasure with business. Through their art, these artists have the capacity to express the struggle of Blacks for equality. In addition, there is an aesthetic reward in supporting Black artists. The following statement sums up Grave's sentiment, "an investment in art is also an investment in our culture."

• The Bullish Market for Black Art by Judith Wilson (pages 34-36, 39-40). The subtitle gives a clear indication to the content of this article: Companies and individuals have discovered patronage of the arts can help the bottom line. The article focuses on such companies as Golden State Mutual Life Insurance Company, Johnson Publishing Company and Johnson Products Company, Atlanta Life Insurance Company, Brooklyn Bedford-Stuyvesant Restoration Corporation, etc. 
• Where to See and Buy Black Art (page 41) This is a list of museums, galleries, college and corporate collections of Afro-American artists in the vanguard. Although it is now a bit dated because a number of the galleries have closed. However, knowing that they existed is a rich piece of history for one who continually digs to uncover any solid documentation relating to the history of Black art/artists. I am always looking, sometimes with success and sometimes not so successful, for catalogues, brochures, or any ephemera produced by galleries that were on the forefront of representing or showing the work of Black artists. Two of my biggest challenges, in terms of locating material, have been Brockman Gallery and the Barnett-Aden Collection. However, recently, I have had success with discovering approximately 12 catalogues from Gallery 62 (National Urban League). Also, I just stumbled upon a wonderful little gem from Just Above Midtown. With the list that appears in this issue, I will now expand my search strategy to include a few other galleries that I was formerly not familiar. Although a select gallery may be closed, there may just be some ephemera in the hands of a local secondhand book dealer.
• New Rituals, New Visions (pages 43-48, 51). This article features a mini-exhibition of works by Afro-American artists in the vanguard, including Clarence Morgan, David Hammons, Jacqui Holmes, Bill Traylor, Curtis Bunyan, Jules Allen, Clifton Webb, Randy Williams, John  Scott, Richard Powell, Ray Grist, Senga Nengudi, Margo Humphrey, and John Dowell. As I read this article, a number of questions came to mind. Where are these artists 35 years after the publication of this issue? What impact have they had on broadening and defining the perspective of American art? How well have these artists and their works been documented in newspapers, journals, exhibition catalogues, standard text, etc? Are their works more included in mainstream museums than artists 35 years ago? How well are these artists compensated for their works and how does that dollar amount compare in value to 1980 selling prices? etc., etc., etc.