Cotton Picking with African House (Authenticated)

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Clementine Hunter
Cotton Picking with African House (Authenticated)
1965

Price:$19,000

$22,500List Price

About the Item

If you have been watching recent auction of Clementine Hunter's work, you will know that this price is now the WHOLESALE (auction) price her work is selling for - not a retail gallery price. See photo for an example. Recently at Neal Auction in New Orleans the average was around $25,000; her work is simply on fire. I can remember selling one for $4,500 some time back. Wish I could have it back, along with all the others I have sold! At any rate, the first thing to ask about any Clementine is: is it authentic. YES, there are fakes! I won't touch anything by her that hasn't been verified, and this one has been verified by the gallery that actually represents her work: Gilley's, in Baton Rouge (you can check out their website - though you will see they are completely sold out of her work, as almost everyone is). Of course it has my own guarantee as well; I have sold many Clementines. You can find fakes at auction houses (many of them outside of the New Orleans area) and other venues that don't ask questions for a lot less money, but don't be fooled! At any rate, this lively, bright, wonderful Clementine. The Gilley's document (see attached photo) says: "This original Clementine Hunter painting mixes one of her most familiar scenes (picking cotton) with one of her most familiar buildings (The African House at Melrose Plantation). So it's a classic Clementine. I wish I could do something about the cost, but both institutions and important collectors have gone nuts over her and the prices just keep rocketing upwards. By next year I will probably wish I hadn't sold this one, if things keep going the way they have been! 17.5 x 23.5 is the picture size, 20.5 x 26.5 with frame. Proudly presented by Guy Lyman Fine Art, New Orleans, with our firm guarantee of satisfaction. From AskArt: Often referred to as “the black Grandma Moses,” Clementine Hunter painted four to five thousand paintings, which were boldly colored images in folk art style of plantation life in Louisiana. Her subjects included everyday activities such as doing laundry and festive events including weddings, dances, and church going. She also did mural painting, and a number of her works had Christian religious subjects. She was born at Hidden Hill Plantation near Natchitoches, Louisiana, and lived there the remainder of her life pf one-hundred-one years, raising seven children and working in the fields. She attended a local Catholic school, but quit at a young age and never learned to read or write. At age sixteen, she moved to nearby Melrose Plantation, where she worked for many years as a field hand. Her first male companion and father of two of her children was Charlie Dupree, who died in 1914. Ten years later she married Emanuel Hunter, and moved into the plantation house where she was in charge of the domestic work. Becoming associated with the plantation mistress, Ms. Cammie Henry, changed Hunter’s life. Henry, was an archivist and artist who actively encouraged the arts. She opened her home to artists and authors who needed a quiet place to work. It was at Melrose that Hunter first began her production of hand made quilts, dolls, and lace curtains. Meeting artist friends of Ms. Henry, Hunter met many people in the art world and was especially influenced and promoted by Francois Mignon, who was an artist-in-residence at the plantation. In 1946, under his direction, she did her first work, a plantation baptism scene, from a few partially used tubes of oil paint on a window shade that he provided. Another supporter at that time was James Register, also an artist-in- residence, and he obtained a Julius Rosenwald Foundation Grant for her. He encouraged her to do abstract art, which she did while letting him choose the titles. But she preferred the folk art style. From that time, she was prolific, and created over four-thousand scenes of plantation life on whatever materials were available from scrap wood to paper bags. She thinned her oil paint so much it resembled watercolor. She sold many of her first works for a dime or quarter to pay for her husband’s medical treatment. Legacy and honors: One of the more well-known displays of Hunter’s artwork is located in a food storage building called “African House” on the grounds of Melrose Plantation. (African House is often referred to as slave quarters, however the building was built for, and always used for food storage.) The walls are covered in a mural Hunter painted in 1955, depicting scenes of Cane River plantation life. When she completed the mural, a local newspaper ran the headline: “A 20th Century Woman of Color Finishes a Story Begun 200 Years Ago by an 18th Century Congo-Born Slave Girl, Marie-Therese, the original grantee of Melrose Plantation.” The cafe and snack bar at the Alexandria Museum of Art is named for Hunter. She was the first African-American artist to have a solo exhibition at the Delgado Museum (now the New Orleans Museum of Art). She achieved significant recognition during her lifetime, including an invitation to the White House from U.S. President Jimmy Carter and letters from both President Ronald Reagan and U.S. Senator J. Bennett Johnston, Jr.. Radcliffe College included Hunter in its Black Women Oral History Project, published in 1980. Northwestern State University of Louisiana granted her an honorary Doctor of Fine Arts degree in 1986. The following year, Louisiana governor Edwin Edwards designated her as an honorary colonel, a state honor, and aide-de-camp. Hunter has been the subject of biographies and artist studies, and inspired other works of art. In 2013 composer Robert Wilson presented a new opera about her: Zinnias: the Life of Clementine Hunter, at Montclair State University in New Jersey. Sources: Peter Hastings Falk, Editor, Who Was Who in American Art, Volume II Chuck and Jan Rosenak, Museum of American Art Folk Art Encyclopedia “Clementine Hunter,” Wikipedia, Web, Mar. 2016 Alice Rae Yelen, “Passionate Visions,” American Art Review, February, 1995

Creator:
Clementine Hunter
Creation Year:
1965
Dimensions:
Height: 20.5 in (52.07 cm)Width: 26.5 in (67.31 cm)
Medium:
Oil
Movement & Style:
Folk Art
Period:
1960-1969
Condition:
Superb condition! I could find only one tiny scratch on the whole canvas!
Gallery Location:
New Orleans, LA
Reference Number:
1stDibs: LU99438872252

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The first thing to ask about any Clementine is: is it authentic. Yes, there are fakes, and paintings by her son that are mistaken for (or presented as) hers. I won't touch anything by her that hasn't been verified, and this one has been verified by the #1 Clementine expert, Tom Whitehead. Of course it has my own guarantee as well; I have sold many Clementines. You can find fakes at auction houses (many of them outside of the New Orleans area) and other venues that don't ask questions, for a lot less money, but don't be fooled! Now, about the painting. This one has a clear, wonderful provenance, which is unusual for these. Weddings were a common theme for Hunter, but this one has a specific history. It was gifted to Mr. and Mrs. Merrill by Ann and Jack Brittain in 1967 as a wedding present; then went by descent to the estate of Mary Jane "Cookie" Grace Merrill of Baton Rouge, Louisiana. 18" x 24", slightly larger with frame. I will be including a free copy of the hardcover book (show in photo) by Art Shiver and Tom Whitehead about Clementine (Whitehead is the expert who verified this painting). Proudly presented by Guy Lyman Fine Art, New Orleans, with our firm guarantee of satisfaction. From AskArt: Often referred to as “the black Grandma Moses,” Clementine Hunter...

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