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Jacob Lawrence"Windows"c. 1977
c. 1977
$743,750
£551,891.34
€642,877.79
CA$1,035,305.40
A$1,152,905.93
CHF 600,023.82
MX$14,215,191.11
NOK 7,641,762.38
SEK 7,182,515.84
DKK 4,796,666.01
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About the Item
Jim's of Lambertville Fine Art Gallery is proud to present this work by Jacob Lawrence (1917 – 2000).
Provenance: This painting is from the private collection of Gwen Lawrence, widow of Jacob Lawrence.
Exhibitions: An attached photo (3rd photo) of the back of the piece shows its extensive exhibition history.
Biography: Leading African-American narrative painter, Jacob Lawrence was born in Atlantic City, New Jersey in 1917. After his father abandoned his family in 1924, Lawrence spent several years in foster homes before reuniting with his mother in 1930 in Harlem, New York. In New York, he attended art classes organized at the Harlem Art Workshop with Charles Aston and the Harlem Community Art Center with Augusta Savage. There, he met fellow young painters, Aaron Douglas, and William Johnson. From Savage, Lawrence was able to secure a scholarship to the American Artists School and a position with the Works Progress Administration in New York.
In 1940, Lawrence completed “The Migration Series”, a sixty-panel set of narrative paintings depicting the Great Migration of African Americans relocating to the North form the South after World War I. He also completed series on the Haitian general Toussaint L’Ouverture, Frederick Douglass, and Harriet Tubman.
Lawrence was drafted to the Coast Guard in 1943, serving in the first racially integrated crew in United States history as a combat artist. From his experiences in war, he created the famous War Series.
In 1946, at the invitation of Josef Albers, Lawrence became a teacher at Black Mountain College in North Carolina, known for its avant-garde instructors and students. He was also on the faculty for the Art Students League, the New School for Social Research, and Pratt Institute in New York. In 1971, he was hired as a professor of art at the University of Washington in Seattle, retiring in 1986. After retiring from teaching, Lawrence designed a 72-foot mural commissioned by the city called “New York in Transit”. The piece was installed at the Times Square subway station in 2001.
- Creator:Jacob Lawrence (1917-2000, American)
- Creation Year:c. 1977
- Dimensions:Height: 19 in (48.26 cm)Width: 22 in (55.88 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Lambertville, NJ
- Reference Number:Seller: AJG1209180031stDibs: LU37412156542
Jacob Lawrence
One of the first Black artists to receive national acclaim in the United States, Jacob Armstead Lawrence (1917–2000) was born in Atlantic City, New Jersey, before moving to Philadelphia, Pennsylvania, and then to Harlem, New York, in 1930. While enrolled in a community after-school arts program, Lawrence developed his talents as a painter, drawing praise and encouragement from artist Charles Alston, who ran the program at the time. Despite his family’s financial struggles during the Great Depression, Lawrence continued his pursuit of the arts, developing a series of multipanel realist paintings dedicated to iconic Black historical figures, including Toussaint L’Ouverture, Frederick Douglass and Harriet Tubman. In 1938, he had his first solo exhibition at the Harlem YMCA and had begun to work for the Works Progress Administration (WPA).
In 1940, Lawrence received a grant from a philanthropic organization called the Rosenwald Fund, which allowed him to begin what would become his most famous work: The Migration Series, a narrative piece comprised of casein tempera paint on 60 18-by-12-inch hardboard panels featuring captions he’d written before he began to paint. (Fellow artist and future wife Gwendolyn Knight helped with the text.) Lawrence’s series focuses on the Great Migration of Black Americans from the agricultural South to the industrial North between 1910 and 1940.
By the end of the 1940s, Lawrence had earned widespread recognition for his important work and was the most celebrated Black artist in the United States. He continued covering Black historical figures throughout his career, though he also painted social commentaries on contemporary issues, like World War II and civil rights. He taught at the Art Students League in New York and at Black Mountain College in North Carolina (upon invitation from artist Josef Albers), among other institutions.
Lawrence’s works can be found in the collections of many major museums, including the Museum of Modern Art, the Metropolitan Museum of Art and the Whitney Museum of American Art in New York and elsewhere. His painting The Builders hangs in the White House today, as it was acquired by the White House Historical Association in 2007.
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View All"In Front of the Store"
By Charles Robert Searles
Located in Lambertville, NJ
Jim’s of Lambertville is proud to offer this artwork.
Signed and dated lower right.
Illustrated in "Charles Searles" 2013 exhibition catalog (La Salle University Art Museum / Tyler School of Art) pg. 195
Charles Searles (1937-2004)
He was born in Philadelphia, PA and received his fine art education at the Pennsylvania Academy of Fine Art (PAFA) from 1969-72. He also attended the University of Pennsylvania for liberal arts studies, where he worked in the labs beside the scientists and engineers creating technical illustrations for text books. His early paintings embraced the tumultuous 60's and also reflected his own family life and surroundings.
Before graduating the PAFA, Searles received the Cresson Memorial Traveling Scholarship, and the following year, the Ware Memorial Traveling Scholarship. He was the first student to use these funds to travel to Africa. His travels in Africa marked his life and work forever -- the life, the rhythms, the patterns, and the energy.
Searles returned to Philadelphia and began teaching at the Ile Ife Cultural Center. It was then that he began his "Dancer" Series. This series marked a change in his life, celebrating his new sense of renewal and the African experience. He was awarded his first mural commission at the William G. Green Federal Building. This work, entitled "Celebration" is still on view today. At that time, he was also hired as a drawing teacher at the (then) Philadelphia College of Art, where he remained a professor for over twenty years.
In 1978, Searles moved to New York City. He found a large, raw space -- an old sewing factory -- on Broadway and Bleeker where he would remain for the rest of his life. He continued to commute to Philadelphia teaching part time. He met Kathleen Spicer, an art student, in 1983. They married in 1985. Together, they shared a wonderful, open, artistic, social, and creative experience.
Searles gradually moved away from painting and into sculpture. His sculptures maintained the vibrant color and patterns from his paintings, but seemed to dance in three dimensions. These new works embodied a live sense of rhythm and energy -- trademarks that he maintained throughout his career, whether in wood, bronze, or aluminum.
In his lifetime, Charles Searles participated in over 60 group shows, and 25 solo exhibitions. He was represented by the Sande Webster Gallery in Philadelphia for over 20 years. His paintings and sculptures can be found in innumerable public and private collections. Public commissions include the Delaware River Port Authority, the NYC Mass Transit Authority, the First District Plaza in Philadelphia, and the Amtrak station in Newark, NJ. He was the recipient of many awards, including ones from the Pollock-Krasner Foundation, the Adolph and Esther Gottleib Foundation, the Creative Arts Project Fellowship, and the National Endowment for the Arts.
His wife of 23 years, Kathleen Spicer adds: "Charles was his work, and his work was him. Inseparable. Our lives were all about art. We lived each day as if it was a gift. To me, he was enchanted. His vision was clear -- he could envision something and make it come to life as easy as breathing. Genius. Charles made the world a better place. Charles speaks loud and clear."
Bio courtesy of Kathleen Spicer (Searles)
Selected Periodical Citations:
Newhall, Edith, "Dual Celebration of Self-expression", Philadelphia Enquirer, May 2013
Fabbri, Anne, "A Farewell to Charles Searles", Art Matters, January 2005
Cornell University Review, August 2000
O'Neill, Denise I., "Black Experience Puts Soul Into the Heart of Christmas", Chicago Sun-Times, December 1996
Gleuck, Grace, Review, The New York Times, December 1996
McBride, Octavia, "An Artist Acclaimed", Philadelphia Tribune, April 1993
Fox, Catherine, "National Black Arts Festival Program Guide", The Atlanta Journal, July 1990
Wilson, William, "Black Artists in Tune with Ancestors", Los Angeles Times, January 1990
Jamusch, Ann, "Special Show-Legacy of Black Art", Dallas Times Herald, January 1990
Binkley, Barbara, "Colors, Bright and Bold", The Daily News, April 1986
Grafly, Dorothy, "Charles Searles at Neumans", ART in Focus, Summer 1978
Crittendon, Denise, "Back Home from Nigeria", The Michigan Chronicle, December 1977
Garrett, Bob, Art Section Review. Boston Sunday Herald, November 1975
Patry, Louise, "A Jubilee of Afro-American Art in Boston", New England Journal, December 1975
Wright, Charles, "Paint Art Racist", The Village Voice, April 1971
Nelson, Nells, "Black Artists Rise Above the Tempest", Philadelphia Daily News, April 1971
Canaday, John, "Black Artist on View in Two Exhibitions", The New York Times, February 1970
Collections:
- Philadelphia Museum of Art
- The Woodmere Art Museum
- Smithsonian Institute of American Art
- Pennsylvania Academy of the Fine Arts
- LaSalle University Art Museum
- Howard University Gallery of Art
- Dallas Museum of Art
- Delaware Valley Arts Alliance
- Montclair Museum of Art
- Afro-American Historical & Cultural Museum
- Museum of Afro-American History
- 35 + corporate collections
- National & international private collections
75+ Group Exhibitions, Including:
- Woodmere Art Museum
- Pennsylvania Academy of the Fine Arts
- Whitney Museum of American Art
- Museum of American Art
- Boston Museum of Fine Arts
- Brooklyn Museum
- Art Alliance
- National Afro-American Museum
- Liberty Museum
- National Blacks Fine Arts Show
- Institute of Contemporary Art
- Ackland Arts Museum
- Arnot Art Museum
30+ Solo Exhibitions, Including:
- Philadelphia Museum of Art, Philadelphia PA
- The State Museum of Pennsylvania, Harrisburg, PA
- LaSalle University, Philadelphia, PA
- Temple University, Philadelphia, PA
- Montclair Art Museum, Montclair, NJ
- Noyes Museum, Oceanville, NJ
- Delaware Valley Arts Alliance, Narrowsburg, NY
- North Carolina State University
- Winston Salem State University, Winston Salem, NC
- G.R. N’Namdi Gallery, New York, NY
- Sande Webster Gallery, Philadelphia, PA
- June Kelly Gallery, New York, NY
- Noel Gallery, Charlotte, NC
- Malcolm Brown...
Category
1970s American Modern Figurative Paintings
Materials
Canvas, Oil
"Manhattan Night Life"
By Vaclav Vytlacil
Located in Lambertville, NJ
Jim’s of Lambertville is proud to offer this artwork by:
Vaclav Vytlacil (1892-1984)
He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn.
He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant.
During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League.
His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work.
He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...
Category
1930s Abstract Expressionist Abstract Paintings
Materials
Canvas, Oil
"The Evening Crowd, Manhattan"
By Vaclav Vytlacil
Located in Lambertville, NJ
Jim’s of Lambertville is proud to offer this artwork by:
Vaclav Vytlacil (1892-1984)
He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn.
He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant.
During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League.
His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work.
He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...
Category
1930s Abstract Abstract Paintings
Materials
Canvas, Oil
"Through the Doors"
By Josef Zenk
Located in Lambertville, NJ
Jim’s of Lambertville is proud to offer this artwork by:
Josef Zenk (1904-2000)
Josef Zenk was born in New York City in 1904. After graduating from high school, he studied for thr...
Category
20th Century Abstract Expressionist Mixed Media
Materials
Paper
"New York"
By Gershon Benjamin
Located in Lambertville, NJ
Jim’s of Lambertville is proud to offer this artwork by:
Gershon Benjamin (1899-1985)
An American Modernist of portraits, landscapes, still lives, and the urban scene, Gershon Benj...
Category
1940s Modern Landscape Paintings
Materials
Oil, Gouache
"9th Ave. EL"
By Gershon Benjamin
Located in Lambertville, NJ
Jim’s of Lambertville is proud to offer this artwork by:
Gershon Benjamin (1899 - 1985)
An American Modernist of portraits, landscapes, still lives, and the urban scene, Gershon ...
Category
1920s Modern Landscape Paintings
Materials
Canvas, Oil
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