Art of the Collectors VII

July 27 – August 31, 2019

Collectors Panel Discussion: Saturday, August 24th, 5:00-7:00 pm. – The Preservation of Art, Culture, and Legacy – Panelists: Amath Gomis, Gregory Morton and William Robinson. Moderator: Myrtis Bedolla

video: Collectors Panel Discussion

Art of the Collectors VII features works of art created by 20th and 21st century African and African American artists previously held in institution and private collections. Artists: Akili Ron Anderson, Benny Andrews, Romare Bearden, John Biggers, Ernest Crichlow, Sam Gilliam, Lois Mailou Jones, Jacob Lawrence, Ulysses Marshall, Valerie Maynard, Jonathan Pinkett, Frank Smith, Hughie Lee Smith, Lou Stovall, Bruce Onobrakpeya, Delilah Pierce, Stephanie Pogue, Faith Ringgold, Cullen Washington, Jr., James Lesesne Wells, Lorna Williams, Curtis Woody, Falaka Armide Yimer, and Purvis Young.

Faith Ringgold, Grooving High
Color Silkscreen 48/425, 35″ x 49″, Framed, 1996
Provenance: Johnetta B. Cole Collection

Artwork

Akili Ron Anderson (1946), Middle Passage, Colored Pencil, Ink and Metallic Paint on Paper, 24" x 31" Framed, 1986-1999, N/A, Ford Collection

Benny Andrews (1930-2006), Glider, Lithograph, 35.5" x 27.5" Framed, 1991, 116/275, Private Collector

Bruce Onobrakpeya (1932), Napolioni, Additive Plastograph, Framed,, 19" x 16.5", 1994, 30/75, Harris Collection

Choco, (1949), Untitled, Lithograph, 25.75" x 25" Framed , N.D., 10/15, Cole Collection

Cullen Washington (1972), Poppa T Verison Z, Etching, 28.5" x 22.5" Unframed, 2006, 7/8, Private Collector

Curtis Woody, Ties That Bind, Mixed Media, 7.75" x 7.75" Framed, N.D., N/A, Savage Collection

Curtis Woody, We Were Meant to Live For So Much More, Mixed Media, 15.5" x 15.5" Framed, N.D., N/A, Savage Collection

Delilah Pierce (1904-1992), In Bloom, Acrylic and watercolor, on paper, 19.5" x 14.5" Framed, N.D., N/A, Ford Collection

Ernest Crichlow, (1914-2005), Stone Princess, Color Screenprint , 30" x 20" Unframed, 1982, 64/100, Derby Collection

Ernest Crichlow, (1914-2005), Young Lady in Yellow Dress, Color Etching and Aquatint, 21 3/4" x 16 3/4", Unframed, 1982, 47/100, Derby Collection

Faith Ringgold (1930), Grooving High, Color Screenprint , 35" x 49" Framed, 1996, 48/425, Cole Collection

Falaka A. Yimer (1942), Mt Pleasant, Woodcut, 24" x 30" Framed, 1986, 5/10, Private Collector

Frank Frazier (1943), Untitled, Mixed Media on Paper, 14.75" x 38" Framed, 2004, N/A, Private Collector

Frank Smith (1935), So We Too Cool, "Acrylic on wood panel
", 41" x 31" Framed, N.D., N/A, Washington, D.C. Collector

Frank Smith (1935), Dis Card And Dat Card, Mixed Media Collage on Paper, 27.5" x 23.5" Framed, 2007, N/A, Ford Collection

Hughie Lee-Smith, (1915-1999), The Pomise, Lithograph, Unframed, 29" x 21, Framed, 33.5" x 26", 1989, 7/18 A.P., Harris Collection

Jacob Lawrence (1917-2000), On the Way, Lithograph, 40" x 29.5" Framed, 1990, 53/100, Bell-Reid Collection

James Wells (1902-1993), Peace Corps Africa, Color Linocut Print, 31" x 23.5" Framed, 1971, 8th Imp, Private Collector

John Biggers (1924-2001), The Four Sisters, Linocut, 8.75" x 11.75" Framed, 2000, 38/75 2nd Edition, Savage Collection

Jonathan Pinkett, Samson St. at 15th, Watercolor on Paper, 20 1/8" x 14" Unframed, N.D., N/A, Private Collector

Jonathan Pinkett, Venice Corner Window, Watercolor on Paper, 20" x 14" Unframed, N.D., N/A, Private Collector

Jonathan Pinkett, (1949), 4130 Walnut St, Watercolor on Paper, 15" x 12" Framed, N.D., N/A, Private Collector

Lois Mailou Jones, (1905-1998), Veve Voudou III, Serigraph, Unframed, 32" x 40" Framed, 37.5" x 45.5", 1997, 124/150, Harris Collection

Lorna Williams (1986), Nasceney, Six Color Litograph, 27.5" x 20.5" Unframed, 2013, 38/100, Private Collector

Lou Stoval (1937), Roses for Ma, Silkscreen, 16" x 16" Framed, 1988, 37/50, Ford Collection

Mary Lee Bendolph, Gee's Bend (1935), Variation, Housetop, Block Series, Color Aquatint/Etching, 27.25" x 27.5" Framed, N.D., N/A, Cole Collection

Purvis Young (1943-2010), Red Figures, Painting on Found Paper, 9.25" x 6" Artwork, 20" x 20" Framed , N.D., N/A, Savage Collection

Richard Witikani , Nyamanza, Oil on Compassed Paper, 24" x 31.5" Unframed, 1998, N/A, Private Collector

Romare Bearden (1911-1988), Out Chorus, Serigraph with Hand-Painted Watercolor Border, 22" x 29.75" Framed, 1979-80, 54/60, Bell-Reid Collection

Sam Gilliam (1933), Untitled, Color Screenprint, 23.5" x 15" Unframed, 2003, 43/130, Private Collector

Stephanie E. Pogue, (1944-2002), Chameleon, Color Viscosity Etching , 31.5" x 25" Unframed, N.D., A/P, William Pogue Collection

Stephanie E. Pogue, (1944-2002), Dancing Goddesses, Color viscosity etching, 28 1/2" x 34 6/8" Framed, N.D., 2/10, William Pogue Collection

Stephanie E. Pogue, (1944-2002), Dancing Puppet, Color viscosity etching, 30.5" x 24" Framed, 1987, 1/10, William Pogue Collection

Stephanie E. Pogue, (1944-2002), Madras Skylight, Color Viscosity Etching , 19.75" x 15.75" Framed, 1983, 9/20, William Pogue Collection

Stephanie E. Pogue, (1944-2002), Paris Skylight, Color Viscosity Etching and Collagraph, 33.25" x 40.5" Framed, 1984, 1/20, William Pogue Collection

Stephanie E. Pogue, (1944-2002), The New Hat, Color Viscosity Etching , 33" x 25.5" Framed, 1974, 11/20, William Pogue Collection

Thomas Feeling (1933-2003), Child in Sky, Print, 23.25" x 26" Framed, N.D., 1/560, Cole Collection

Ulysses Marshall (1946), Untitled, Acrylic on Canvas, 24" x 18", 1997, N/A, Private Collector

Valerie Maynard (1937), Fulani Lady, Linocut, 30.25" x 23", N.D., A/P, Thrash Collection

Exhibitions

Art of the Collectors VI

February 10 – March 24, 2018

About the Exhibition

Art of the Collectors VI explores the role of the collector in preserving culture and building legacy through art collecting and giving. Featured are works created by prominent and lesser known artists, along with African art. Offerings include a rare drawing by John Biggers, paintings, original prints, and sculptures held in private hands for generations, and important works of art from institution holdings.

Tea with Myrtis – Panel Discussion
Topic: Discussion concerning issues that govern transferring art collections to family members and donating art to museums and universities.
Panelist’s: Alvah T. Beander, Melanin Art Appraisals, LLC • Berrisford Boothe, Principal Curator, Petrucci Family Foundation Collection of African-American Art • J. Larry Frazier, Attorney for Wills, Estates & Probate Law • Myrtis Bedolla, Founding Director, Galerie Myrtis
watch panel discussion

Artwork

John Biggers, I Momolu, Conte on paper, 1965, 19"H x 14"W, $6,000 Reserve (price subject to verification), Bell-Reid Collection

Elizabeth Catlett, The Family, Bronze on Wood, Sculpture: 15” Wooden base:
h. 2” x 5 ½” x 5”, (contact gallery for pricing), 2002, Kansas African American Museum

Louis Delsarte, Heaven's Gate, Watercolor and acrylic on paper, 1968, 36"H x 26"W (framed), $2,700.00 (price subject to verification), Davis Collection

Adolphus Ealey, Untitled (Floral - Still Life), Watercolor on paper, N.D., 31"H x 24 1/2"W (framed), $5,000, (price subject to verification), Evanson Collection gift from Adolphus Ealey, Barnett/Aden Gallery

Delilah Pierce, Long Bridge – D.C. and Virginia, Oil on Masonite, 18 ¾” x 48” framed, $12,000, (price subject to verification), Spence Collection

Delilah Pierce, Vineyard Haven Harbor Massachusetts, Acrylic on Board, 23 ½” x 20” framed, $8950, (price subject to verification), 1957, Spence Collection

Delilah Pierce, Untitled (flower pot), Acrylic on Board 24” x 20” framed, $7000, (price subject to verification), 1957, Spence Collection

Delilah Pierce, Untitled (Sailboats and a Lighthouse), Watercolor on paper 16” x 20 ¾” framed, $3500, (price subject to verification), 1951, Spence Collection

Delilah Pierce, Untitled (fishing boat) Watercolor on paper, 16” x 20 ¾” framed, $3500, (price subject to verification), 1949, Spence Collection

Lucille Malkia Roberts, Wharf Maine Ave, Oil on Masonite Board, 32.5 x 23 in. n/d, $3500, (price subject to verification), Brooks Estate

Frank Smith, Discard and Dat Card- Race Card Series, Mixed media collage on paper 2007, 27.5"H x 23.5"W, $3,000.00, (price subject to verification), Ford Collection

Frank Smith, Eyes Always Seen, Mixed media, 2009, 16"H x 17"W, $2,900.00, (price subject to verification), Harris Collection

Benny Andrews, Glider, Lithograph, 1991, 116 of 275, 35 1/2"H x 27 1/2"W (framed), $1,500.00 (price subject to verification), Smith Collection

Out Chorus, ed. 59/60, 1979-80, Romare Bearden (1911–1988), Serigraph with Hand-Colored border, 22”x29 ¾” framed, $10,000.00 (price subject to verification),
Bell-Reid Collection

Camille Billops, Untitled (Mammy's little Coal Black Rose series), Lithograph, 6/100, 36” x 27” framed, $1500 (price subject to verification), 1992, Smith Collection

Elizabeth Catlett, Survivor, Linocut, 830/1000, 20” x 17” framed, $2000 ( price subject to verification), 1983, Harris Collection

Mother and Son, 1971, by Elizabeth Catlett

Elizabeth Catlett, Mother and Son, Offset lithograph, EE 66/100, 11.5 x 15.5 in. framed, $1500 (price subject to verification), 1971, Jordan Collection

Girl Jumping Rope, 1958, by Elizabeth Catlett

Elizabeth Catlett, Girl Jumping Rope, Lithograph, EE 66/100, 13.75 x 19.25 in. (framed), $2500 (price subject to verification), 1958, Jordan Collection

Ernest Crichlow, Stone Princess, request viewing, Screenprint, 1982, 64 of 100 30"H x 20"W (unframed), $3,000.00 (price subject to verification), Derby Collection

Ernest Crichlow, Lady in Yellow Color, etching and aquatint, 47/100, 21.75 x 16.75 in. unframed, $3,500 (price subject to verification)1982, Derby Collection

Ernest Crichlow, Young Worker, Color Etching and Aquatint, 9/20, 23 7/8” x 17 ¾” unframed, $4,500 (price subject to verification)1974, Bell-Reid Collection

Louis Delsarte, Enlightenment, Lithograph, A/P, 17 x 41 in. framed, 1976, $1850 (price subject to verification), Davis Collection

Ray George, Untitled, Offset Lithograph 1991, 8 of 80, 33 1/2”H x 25 ½”W, $950.00 (price subject to verification), Smith Collection

On the Way, 1990, Jacob Lawrence (1917-2000), Lithograph, 40”x29 ½” framed, $4900 (price subject to verification), Bell-Reid Collection

Valerie Maynard, Fulani Lady, Linocut, unknown A/P, 30 1/4"H x 23"W, $2,000.00 (price subject to verification), Lynch Collection

Francisco Mora, (Husband of Elizabeth Catlett), Untitled, Linocut, ca. 1940-50's, 16 1/2"H x 16 1/2"W (framed), $550.00 (price subject to verification), Lynch Collection

Stephanie Pogue, Caught in the Wind, Color viscosity etching, 5/50, 34 ½” H x 27 ½”W (framed), $850.00 (price subject to verification), 1978, Pogue Collection

Stephanie Pogue, Paris Skylight Color, viscosity and collagraph, 33 1/4"H x 40 1/2"W (framed), $950.00 (price subject to verification), 1984, Pogue Collection

Stephanie Pogue, Chameleon, Color viscosity etching, 1987, A/P 31"H x 25"W (framed), $950 (price subject to verification), Pogue Collection

Gallery Talk

Exploring the Life of Adolphus Ealey and the Barnett…

Exploring the Life of Adolphus Ealey and the Barnett Aden Gallery

This Gallery Talk explores the life of Dr. Adolphus Ealey (1941-1992) who served as the curator and director of The Barnett Aden Gallery, which was founded in 1943, by Professor James Herring of Howard University and his student, Alonzo Aden, the first curator. The gallery helped to launch the careers of artists such as Romare Bearden, Elizabeth Catlett, David Driskell, John Farrar, Lois Mailou Jones, Herman Maril, Delilah Pierce, James Porter, Céline Marie Tabary, Charles Sebree, Henry O. Tanner, Alma Thomas, Laura Wheeler Waring, James Wells, Charles White, Ellis Wilson and Hale Woodruff. The gallery operated for 26 years in Washington, D.C. and was the nation’s first successful black-owned art gallery.

Myrtis Bedolla, Curator, will share insights about the pioneering Barnett Aden Gallery and Ealey’s role as its second curator and director, and examine his career as artist and scholar. In 1969, Ealey inherited the famed Barnett-Aden collection which consisted of over 250 works of art by 19th and 20th century artists. The most revered pieces were those created by African Americans. Today, the majority of the collection is owned by Robert L. Johnson, founder of Black Entertainment Television (BET).

Bedolla will also address why the Barnett Aden Gallery was established; how the collection was built, why Ealey sold the collection for $6 million in 1989; and how Robert L. Johnson came to acquire it ten years later.

Michael Evanson was one of Adolphus Ealey’s close and dear friends. They met in Philadelphia around 1976 when Adolphus became the museum director for the African American Museum of Philadelphia. During the course of their friendship Adolphus helped open a new dimension of appreciation in Michael for fine arts and the art world.

Michael was fortunate to ride around as co-pilot on many of Adolphus’ artistic journeys in Washington, DC as Adolphus was museum curator, art appraiser, art collector, and creative consultant to many clients, artists, and business associates in the Washington area. Michael appreciates that Adolphus was an extraordinary artist himself and always worked to ensure a lasting legacy for the Barnett-Aden Collection.

Artist Talk

Beauty and Power of Delilah Pierce

The Discovery and Rediscovery of the Beauty and Power of Delilah Pierce

Myrtis Bedolla examines the life and artwork of Delilah W. Pierce (1904-1992). Myrtis will discuss Delilah Pierce within the context of her contemporaries. Dr. Debra Ambush presents Open Our Eyes: The Enduring Arts Community Legacy of Delilah W. Pierce. Comments from family members of Delilah W. Pierce share personal stories of her life.

The Beauty and Power of Delilah Pierce

Delilah Pierce: Beauty and Power of Delilah Pierce - Family Comments

Debra Ambush: Legacy of Delilah Pierce

view the exhibition

Artist Talk

Our Common Bond: Mother, Daughter, Sister, Self Artist Talk

Our Common Bond: Mother, Daughter, Sister, Self

Artists’ Talk: African-American women artists who are bound by their personal experiences as mothers, daughters and sisters; and the effort to maintain their self-identity.

Featured Artist: Maya Freelon Asante, Elizabeth Catlett, Linda Day Clark, Oletha DeVane, Kenyatta Hinkle, Margo Humphrey, Martha Jackson-Jarvis, Valerie Maynard, E.J. Montgomery, Annie Phillips, Delilah Pierce, Joyce Scott, Renee Stout, Evita Tezeno and Joyce Wellman.

view exhibition

Maya Freelon Asante: Our Common Bond Artists Talk

Elizabeth Catlett: Our Common Bond Artists Talk

Linda Day Clark: Our Common Bond Artists Talk

Oletha De Vane pt.1: Our Common Bond Artists Talk

Oletha De Vane pt.2: Our Common Bond Artists Talk

Kenyatta Hinkle: Our Common Bond Artists Talk

Margo Humphrey pt.1: Our Common Bond Artists Talk

Margo Humphrey pt.2: Our Common Bond Artists Talk

Martha Jackson-Jarvis: Our Common Bond Artists Talk

Valerie Maynard: Our Common Bond Artists Talk

Evangeline Montgomery: Our Common Bond Artists Talk

Annie Phillips pt.1: Our Common Bond Artists Talk

Annie Phillips pt.2: Our Common Bond Artists Talk

Joyce Scott: Our Common Bond Artists Talk

Delilah Pierce: Our Common Bond Artists Talk

Renee Stout: Our Common Bond Artists Talk

Evita Tezeno: Our Common Bond Artists Talk

Joyce Wellman pt.1: Our Common Bond Artists Talk

Joyce Wellman pt.2: Our Common Bond Artists Talk- Galerie Myrtis Fine Art

Secondary Market

Secondary Art Market

The Secondary Art Market includes works of art that have been sold before and are available again for sale in the market place. Galerie Myrtis offers personalized divestment strategies to art collectors seeking to sell works through art auctions or private resale. Our expertise in the local, national and international art markets allows us to negotiate profitable sales for clients. We also offer confidential auction representation. For more information call 410-235-3711 or at sales@galeriemyrtis.com

Galerie Myrtis Extra! 15 Tips for Building a Fine Art Collection

Artists with works available on the Secondary Art Market

Romare Bearden

Elizabeth Catlett

Ernest Crichlow

Johnnie Lee Gray

Rose Harper South African Collection

Jacob Lawrence

Delilah Pierce

Anderson Pigatt

Malkia Roberts

Publications

Our-Common-Bond-Catalogue

Our Common Bond: Mother, Daughter, Sister, Self

Price: $20.00 USD + S&H

Our Common Bond: Mother, Daughter, Sister, Self is a compelling testament to the complex societal roles of Black women, derived from imagery of African-American women artists who are bound by their personal experiences as mothers, daughters and sisters; and the effort to maintain their self-identity.

Artists: Maya Freelon Asante, Elizabeth Catlett, Linda Day Clark, Oletha DeVane, Kenyatta Hinkle, Margo Humphrey, Martha Jackson-Jarvis, Valerie Maynard, E.J. Montgomery, Annie Phillips, Delilah Pierce, Joyce Scott, Renee Stout, Evita Tezeno and Joyce Wellman.

Foreward by Leslie King-Hammond, PhD

Paperback: 44 pages | 32 color illustrations
Year published: 2008
Language: English
ISBN: 978-091960258
Dimensions: 8.5 x 11 inches

Artist

Delilah Pierce

Secondary Market

Delilah Pierce (1904-1992)

Artwork for Sale

Delilah Pierce, Untitled (Sailboats and a Lighthouse), Watercolor on paper 16” x 20 ¾” framed, (price subject to verification), 1951, Spence Collection
Price: Contact Galerie Myrtis - 410-235-3711

Delilah Pierce, Untitled (fishing boat) Watercolor on paper, 16” x 20 ¾” framed, (price subject to verification), 1949, Spence Collection
Price: Contact Galerie Myrtis - 410-235-3711

Delilah Pierce, Vineyard Haven Harbor Massachusetts, Acrylic on Board, 23 ½” x 20” framed, (price subject to verification), 1957, Spence Collection
Price: Contact Galerie Myrtis - 410-235-3711

Delilah Pierce, Untitled (flower pot), Acrylic on Board 24” x 20” framed, (price subject to verification), 1957, Spence Collection
Price: Contact Galerie Myrtis - 410-235-3711

Biography

Born in Washington, D.C., in 1904, Delilah W. Pierce served as an educator, artist and curator. Her artistic abilities were discovered at an early age by a teacher who found it difficult to believe that she was able to draw so well.

Delilah is known for her fluid style, which ranged from figurative to abstraction. Her colorful compositions are inspired by nature, social justice, and her travels to Europe and Africa. Pierce was revered by her peers and according to art critic Judith Means, “The way she perceives the world, with joy and optimism, and the stunning clarity of her finely-developed aesthetic sense are integral not only to her character but also to the vivid visual textures of her work.”

Delilah had numerous solo exhibitions and exhibited in more than 150 group shows. During the course of her professional career, she participated in exhibitions with preeminent African-American artists: Elizabeth Catlett, Margaret Burroughs, Richard Dempsey, David Driskell, William H. Johnson, Lois Mailou Jones, Jacob Lawrence, Hughie Lee Smith, Alma Thomas, James Wells, and Charles White.

Her works were featured at: Barnett/Aden Gallery, Cosmos Club, Corcoran Gallery, Howard University Gallery, Margaret Dickey Gallery, Smithsonian Anacostia Museum, and Smithsonian Institute in Washington, D.C.; Baltimore Museum of Art, Baltimore, Maryland and Hampton Institute (University), Hampton, Virginia and Kenkeleba Gallery in New York.

In 1988, Delilah served as curator for the exhibition “Inspiration: 1961-1989” which was held at the Smithsonian Anacostia Museum and featured the work of thirty-four African-American artists who were members of the District of Columbia Art Education Association. The exhibition, a survey of the works of its members demonstrated the extraordinary talent and served as stated by Ms. Pierce, “ in documenting the history and the staying power of an organization with more than twenty-five years of community involvement and a rich legacy of service.

She was a member of the Smith-Mason Gallery of Art in Washington, D.C. and the Old Sculpin Gallery and Cousen Rose Gallery in Massachusetts.

Her work is in the permanent collections of the Smithsonian Museum of American Art, University of the District of Columbia, Howard University, Evans-Tibbs Collection, Barnett-Aden Collection, Smith-Mason Gallery of Art, Bowie State College.

Pierce attended Miner Normal (Miner Teachers College) and then Howard University where she earned a B.S. degree. She went on to receive a Masters in art and art education from Teachers College-Columbia University in New York City; and received an honorary degree, Doctor of Humane Letters, from the University of the District of Columbia, Washington, D.C. Pierce received an Agnes-Meyer Fellowship to study abroad in Europe, the Middle East and Africa. Her educational study includes travel to London, Paris, Holland, Rome, Greece, Lebanon, the Holy Land, the River Jordan, Cairo, Ethiopia, Nigeria, Ghana and Dakar.

Exhibitions

Hidden Masters – Delilah Pierce

Hidden Masters: Artists Rising Above Anonymity

Delilah W. Pierce (1904-1992)

October 15th – February 11, 2012

watch panel discussion | about Delilah Pierce

The “Hidden Masters: Artists Rising Above Anonymity” series explores the artwork and examines the lives of artists whose careers were eclipsed by their contemporaries.

Delilah W. Pierce, a prolific painter, captured the essence of her subjects with elegance and force. A 40 year survey offers a trajectory of her work and places her in context with her peers.