The Scott Sanders Collection of Art by Charles Sebree (1914-1985)

The ScoTT SanderS collecTion of arT by charleS Sebree (1914-1985)


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Scott Sanders. Photo Credit: Singer, Courtney. Digital Image. Shadow and Act: On Cinema of the African Diaspora. June 28, 2012. www.blogs.indiewire.com

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Charles Sebree’s illustrious career as a painter, writer, costume designer and dancer spanned seven decades. He overcame great obstacles as a poor, gay African American artist competing for the attention of a narrow audience made up of wealthy white socialites and conservative museums and institutions in the mid 20th century. His work was innovative in terms of subject and medium. The Scott Sander’s Collection is the most comprehensive collection of the artist’s work to ever be offered for sale.

Scott Sanders and his family enjoyed a close personal relationship to Charles Sebree. “He was like a surrogate grandfather to me, and my father had a par-ticularly close relationship to him.” Scott’s father, John Thomas Sanders, was an employee of IBM, and owned and operated a very popular barbecue pit called “Scott’s BBQ” in Washington, D.C. Scott’s BBQ was a favorite among local politicians, including Thurgood Marshall and Walter Mondale. Scott was born in Elizabeth City, North Carolina, and raised in Washington, D.C. He attended the highly selective Sidwell Friends School in Bethesda, Maryland and graduated from the University of North Carolina at Chapel Hill in 1991. His mother, Estelle “Bunny” Sanders was the longtime mayor of Roper, North Carolina, and her father (Scott’s maternal grandfather), E.V. Wilkins, was the first black mayor of Roper.

Scott majored in Radio, TV, and Motion Pictures, and moved to Los Angeles, where he now works as a writer and director. Scott’s directorial debut came in 1998, with the HBO film, Thick as Thieves, starring Alec Baldwin and Michael Jai White. Sanders co-wrote and directed the film, Black Dynamite , which premiered at the Sundance Film Festival in 2009. His most recent project is a film titled Aztec Warrior, which he directed.

ch a r l e S Se b r e e(1914-1985)

Charles Sebree was born November 16, 1914 in White City, Kentucky. Young Charles had an early interest in painting and art, which was developed by an uncle whose hobbies were painting and cartooning. “Robinson tutored Charles in drawing by having him sketch pictures with a stick in the soil and taught him how to make little figures of men out of mud and twigs.” 1 At the age of ten, he and his mother moved north to Chicago. Sebree attended Burke Elementary School, near Washington Park on the south side of Chicago. A teacher noticed some of his drawings and decided to take one to the Renaissance Society of the University of Chicago. His drawing, Seated Boy, was featured on the cover of their magazine, and Sebree was paid $25. By age 14, he was living on his own, carving out a rough existence on the streets of Chicago during the Great De-pression. He survived by being a hustler and running numbers. He managed to graduate from Englewood High School in 1932, a year before Charles White began there. Other notable artists who attended Englewood High School were Archibald Motley Jr., Eldzier Cortor, and Margaret Burroughs.

1 Melvin Marshall and Blake Kimbrough, “Above and Beyond Category: The Life and Art of Charles Sebree,” The International Review of African American Art 18, no. 3, 2002, 2-17.

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After graduating Englewood, Sebree enrolled at the Institute of Design in Chicago (also known as the “New Bauhaus”). This was a significant early influence on the young artist because the school, founded by Lázló Moholy-Nagy in the Bauhaus tradition, encouraged a relationship between art disciplines and this became a central theme in Sebree’s career: connecting visual art, literature, and performance art. He also sat in on classes at the Art Institute of Chicago, with younger classmates, Cortor and White.

In 1933, Sebree met Katherine Dunham, an anthropology student at the Uni-versity of Chicago. Dunham was operating a dance studio in a stable loft on the South side to finance her studies. She formed the Cube Theater Club and Sebree joined. The club members would attend various shows which came into town and entertain the visiting artists afterward. The Cube group was intellectually, artistically, and culturally progressive; it was one of the few art clubs in which both whites and blacks participated. It was here that Sebree met Langston Hughes, an original member of the Cube.

Dunham’s style of dance introduced an African and Caribbean aesthetic to modern dance. Similarly, Sebree blended these influences with the style of painting typically associated with the European modern masters. He spent time as a dancer in Dunham’s company and learned the art of costume design from Dunham’s husband, John Pratt. Pratt designed costumes for Dunham through-out her career and was a painter himself. In 1933, Sebree was invited by Ruth Page, ballet director for the Chicago Opera Company, to dance in the production of La Guiablesse which was to be presented in conjunction with the Century of Progress. Katherine Dunham had also been selected for a supporting role, but when Ruth Page was unable to serve as prima ballerina, Dunham took over her role. La Guiablesse was based on a Martinique folk tale of a she-devil who lures a young man to his destruction.

Eva Watson-Schütze, photographer, artist, and Director of the Renaissance Society at the University of Chicago, after hearing of Sebree’s work, invited

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him to exhibit there in the mid-1930s. His works continued to be exhibited there when Inez Cunningham Clark took over directorship in 1936.1 William McKnight Farrow, the first African American instructor at the Art Institute of Chicago and a senior member of the black artists collective, the Chicago Art League, “met Sebree at the 1934 Grant Park outdoor art fair and reported that his work ‘caused considerable controversy among the artists there as well as among the visitors…He possesses a peculiar talent for producing work of an emotional quality and strange as it seemed to those of academic training, he sold everything he took there for display’.” 2 Sebree applied for a Rosenwald grant in 1935, but was denied; he was later awarded one in 1945 to paint a series of twenty illustrations for the poems of American Negro poets. Sebree had ex-ecuted several illustrations for a poem written in 1936 by John Rood, titled This, My Brother. A painting of the same title, done by Charles White in 1942, is in the collection of the Art Institute of Chicago.

Sebree’s success and vision was not formed solely by his relationships within the black artistic community. He was equally influenced by the white progres-sive art scene in Chicago. Between 1936 and 1938, Sebree worked for the New Deal’s Works Progress Administration in the easel painting division. He also met Chicago bohemian painter, Gertrude Abercrombie around this time, exhibiting together at the Katherine Kuh Gallery. Kuh was a leading proponent of modern art in Chicago in the late 1930s, and Sebree was the only African American artist represented by her. Abercrombie entertained a widely diverse and interracial group of artists at her home in Hyde Park. Jazz musicians Charlie Parker and Dizzy Gillespie were regulars, as well as playwright Thornton Wilder and

1 Robert Bone and Richard A. Courage, “The Documentary Eye” in The Muse in Bronzeville: African American Creative Expression in Chicago, 1932-1950 (New Jersey: Rutgers University Press, 2011), 157. 2 William McKnight Farrow, Letter to Evelyn S. Brown, 15 Apr 1935, Harmon Foun-dation Papers, Manuscript Division, Library of Congress (Washington, D.C.), in A Force for Change: African American Art and the Julius Rosenwald Fund, ed. Daniel Schulman (Evanston, IL: Northwestern University Press, 2009),118.

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philosopher, Alain Locke. It was through Wilder that both Sebree and Abercrom-bie met Gertrude Stein. Sebree shared his friend Locke’s philosophical notion of “cultural pluralism”, which Locke defined as embracing one’s own culture while participating fully in society as a whole.1 In an exhibition at the Kuh Gallery in March of 1940, Sebree’s work hung alongside the European modernists, Leger, Picasso, Matisse, and Modigliani.

In an article written by Willard Motley (Archibald Motley, Jr.’s brother) in 1940, Sebree was described as a “problem child” because his “star rose early”. Motley said Sebree was “an escapist” and “disillusioned”. Sebree told him he wanted to sell all of his paintings and go to New York, because he was tired of Chicago.2 In an essay titled, Chicago’s African American Visual Arts Renaissance, Murry N. DePillars discusses how, while Sebree’s art reflected certain influences, he was not an imitator. DePillars names Byzantine art, African art, Picasso, and Rouault as Sebree’s main influences.3

1 Thom Pegg, Parkway Collection of Important 20th Century African American Works of Art (Kansas City: Parkway Galleries LTD), 2010, 29. 2 Willard F. Motley, “Negro Art in Chicago,” Opportunity 18, no. 1 (January 1940): 19, 29-31. 3 Murry N. DePillars, “Chicago’s African American Visual Arts Renaissance,” in The Black Chicago Renaissance, ed. Darlene Clark Hine and John McCluskey Jr. (Champaign, IL: University of Illinois Press, 2012), 187-188.

Byzantine mosaicBasilica of San Vitale, Ravenna, Italy

Detail of Picasso’sClown and Monkeyc. 1910

Catalog p. 41 Catalog p. 47

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Paul KleeDeath and Fire

Georges RouaultPierrot

Catalog p. 50Catalog p. 39

The artist and scholar, James Porter, said this of Sebree’s work: (it was) “conceived in a mood of contemplation and recall(ing)…Russian icon painting.”1 Byzantine art (example p. 7) was characterized by a shift from the naturalistic character of classicism toward an “abstracted” depiction of the figure.

The influence of Georges Rouault’s work on Sebree is clearly evident, not only in imagery, but in philosophy and approach. Both painters focused on human nature and their subjects, depicted in stark contrast, were spontaneous and communicated a high degree of emotionality. Similarly to Paul Klee, Sebree experimented with many, and sometimes unconventional, mediums. Klee experimented with Expressionism, Cubism and Surrealism and his figurative subjects appeared fragile and child-like. Sebree’s subjects, vulnerable and reflective, invited the viewer to look deeper. The works are intentionally devoid of activity so that it would not pose a distraction to the humanity of the subject. Sebree’s subjects, similarly to Picasso’s (example p. 7), expressed a familiarity to the artist. Regardless if the subject were only a model or even a fictitious char-acter, they were rendered as if they were someone known to the artist. Rouault went so far to say, “”A tree against the sky possesses the same interest, the same character, the same expression as the figure of a human.”

1 James A. Porter, “The New Horizons of Painting,” in Modern Negro Art (New York: Dryden Press, 1943) (New York: Arno Press, 1969), 122.

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African wood carving

Two Figures in an Alleyway, c. 1938; oil on masonite, 20” x 24”

Catalog p. 36

Sebree worked in various mediums early on, including oil and egg tempera. He soon discovered that oils were too toxic for him and caused a negative physical reaction, so he made a permanent switch to egg tempera and water-based paints, such as gouache and watercolor. He also executed large canvases earlier in his career (1930s-40s), but by the 1950s, when he was living in Washington, D.C., he was painting on his kitchen table and literally did not have the space to make large format works. 1

1 Ted Shine, “Charles Sebree Modernist,” Black American Literature Forum 19, no. 1 (Spring 1985): pages 6-8.

Sebree noted that he was influ-enced by primitive African art (as was Picasso). The attraction to primitivism was its spontaneity, honesty, and emotionally-charged symbols. Many artists adopted primitivism as a reaction against seemingly corrupt society or specifically, the art academies.

This work by Sebree is an example of the larger works he executed in oil early in his career.

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Sebree’s most well-known paintings were The Rescue of Dorie Miller1 and Boys Without Penises.2 Sebree and his friend, Owen Dodson, were in the Navy and stationed at the segregated Camp Smalls, in northern Illinois. The two of them wrote and performed a play, The Ballad of Dorie Miller , for their fellow enlistees. The news of the heroism of an African American sailor named Doris “Dorie” Miller during an attack on Pearl Harbor (December 7, 1941) had reached them and they were inspired. Black service men had been traditionally restricted to roles such as cooks and menial laborers on ships, but Miller left his position in the kitchen when the attack began, and rescued his (white) commanding officer, who had been mortally wounded, and then proceeded to man an anti-aircraft gun, firing at Japanese planes overhead. In 1942, Miller was awarded the Navy Cross by Chester Nimitz. Eventually, Miller was promoted to Chief Petty Of-ficer, Ship’s Cook Third Class, and was aboard the aircraft carrier, Liscome Bay, in November of 1943, when it was struck by a torpedo and sank, killing 600 of its crew members, including Miller.

1 Charles Sebree, The Rescue of Dory Miller, gouache, ink and pencil mounted on paper, in “Charles Sebree’s ‘Boys Without Penises’, A Hermetic Self-Portrait?,” by Tony Finch, in The International Review of African American Art 18, no.3, 2002, 21. 2 Charles Sebree, Boys Without Penises, gouache on composite board, ibid, 18.

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Boys Without Penises depicts three young African American boys: Miller, Owen Dodsen, and Sebree. Sebree’s artwork had both elements of revealing and concealing. The artist found himself the subject of discrimination as an African American and as a gay man. Miller’s figure is separated from the other two fig-ures, but in contrast to the heroic figure depicted in the news stories, he appears distant and passive. Sebree portrayed Miller in this way to symbolize the impo-tence of the black soldier. In spite of his heroics, he was denied the freedoms for which he fought to protect: he was poor and uneducated, and ultimately had little future waiting for him after the war.

The Rescue of Dorie Miller1942gouache, ink, and pencil mounted on paper6-1/2” x 5-1/8”Collection of Corcoran Gallery of Art

Boys Without Penises1943gouache on composite board7-7/8” x 9-7/8”Private collection

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In 1947, Sebree went to Washington, D.C. to do set design and costumes for a play being produced at Howard University, and decided to remain there. He began painting immediately and found buyers very quickly. His method changed somewhat in the 1950s. His palette became more colorful, he started using ink and wiping it off to create negative spaces in his compositions. He also began using casein on textured paper. These materials lent themselves nicely to his new small-scale format. In the mid-1950s, Sebree devoted considerable energy to theatrical work. His play, Mrs. Patterson, ran off broadway from 1954-1955 and starred Eartha Kitt.

In the 1960s, Sebree participated in a writer’s group with the Howard University faculty, and was called upon to critique Toni Morrison’s, The Bluest Eye . Of Sebree, Morrison said, “he was the first person that made me think I could be a writer.”1 Sebree continued to use egg tempera, but introduced crayons and bees-wax to his preferred media choices. He worked on textured paper because it was economical and works could be done quickly. The Henri Gallery (Washington, D.C.) presented a one-man show of his work in 1964. Jo Ann Lewis, in a review of an exhibition in which Sebree was included in 1982 writes, “Sebree reveals himself to be a gifted artist who somehow manages to cross Picasso and Paul Klee, but, in the end, produces intriguing little abstracts that are all his own.” 2 By the 1980s,Sebree was influenced by African primitive art, South Sea Islands and Chinese art.

1 Quoted in Marshall and Kimbrough, “Above and Beyond,” 12-13. 2 JoAnn Lewis, “Opening the Curtain for Black Artists,” review of Six Black Giants, Gallery 1221, Washington D.C., Washington Post 11 Feb. 1982 This show also in-cluded two dozen small works by Alma Thomas, James Lesesne Wells, Lois Mailou Jones, Ernest Crichlow, and Norman Lewis.

In the case of Charles Sebree, his artistic career nearly spanned his entire life, and he enjoyed considerable success—as a teenager living on the South side of Chicago during the 1920s until his death in Washington, D.C. in the mid 1980s.That’s certainly not to say that he had it easy—he did not. Battling racial and homophobic discrimination, hustling to make ends meet financially, he faced difficult times, but his work was always appreciated as being of high quality and always sold well. “When Gertrude Stein and Fernand Leger told me that I would be a big American painter someday I felt a little honored, but when I heard that Picasso had said that I was on the right track I really felt honored .” 1

Thom Pegg

1 Quoted in Marshall and Kimbrough, “Above and Beyond,” 5.

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Li t e r a ry Wo r k s iL L u s t r at e d b y Ch a r L e s se b r e e

Pl ay s Wr i t t e n b y Ch a r l e s se b r e e

1936 This, My Brother by John Rood

1940 The Lost Zoo by Countee Cullen

1973 Not That Far by May Miller

1943 The Ballad of Dorie Miller

1953 Mrs. Patterson

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E x h i b i t i o n s

1935 Breckenridge Galleries, Chicago, IL (solo) The Fourteenth International Exhibition of Watercolors; Art Institute of Chicago; Gris Dance

1936 40th Annual Exhibition by Artists of Chicago and Vicinity; Art Institute of Chicago, IL; Ritual Woman An Exhibition of the Work of John Pratt and Charles Sebree; The Renaissance Society, University of Chicago, IL

Paintings and Sculpture by American Negro Artists; The Renaissance Society, University of Chicago, IL

New Horizons in American Art; Museum of Modern Art, NY The Fifteenth International Exhibition of Watercolors; Art Institute of Chicago; Minstrel Fragments, Not Without Song 1937 Exhibition of Negro Artists of Chicago; Howard University Gallery of Art, Washington D.C.

1938 Chicago Artists Group Galleries

The Seventeenth International Exhibition of Watercolors; Art Institute of Chicago; Two Women

1940 The Nineteenth International Exhibition of Water Colors; Art Institute of Chicago, IL; Woman in a Boat (lent by Gertrude Abercrombie)

Katherine Kuh Galleries; Chicago, IL

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1940 We Too Look at America (Opening exhibition of paintings by Negro artists of the Illinois Art Project, Work Projects Administration), South Side Community Art Center, Chicago, IL

American Negro Exposition; Tanner Art Galleries, Chicago, IL

44th Annual Exhibition by Artists of Chicago and Vicinity; Art Institute of Chicago; Woman in White Turban

Third Annual Arts Festival; Fort Valley State College, GA

1941 Exhibition of Negro Artists of Chicago; Howard University Gallery of Art, Washington D.C.

American Negro Art; Downtown Gallery, NY Exhibition of Book Illustrations by Jacob Lawrence, Charles Sebree, Vernon Winslow; South Side Community Art Center, Chicago, IL

Contemporary Negro Art; McMillen Inc., NY

1942 Second Annual Exhibition of the Society for Contemporary American Art; Art Institute of Chicago, IL; Woman Thinking About a House Paintings by Karl Priebe and Charles Sebree; Layton Art Gallery, Milwaukee, WI

The Twenty-First International Exhibition of Watercolors; Art Institute of Chicago; To Be Myself When Younger; To Think of Dusk

1943 Home Sweet Home; G Place Gallery, Washington D.C.

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1943 Problems of the War and the Negro People; National Negro Conference, Detroit, MI

1946 Parkway Community House, Chicago, IL (solo)

1947 Representative Works by Chicago Artists; The Renaissance Society, University of Chicago, IL

1949 Roko Gallery, New York, NY (solo)

Swope Art Gallery, Terre Haute, IN Contemporary Painting: 32 Americans; Museum of Arts and Sciences, Norfolk, VA

1950 Carroll College, Waukesha, WI

1951 Saidenberg Gallery, New York, NY (solo) 60th Annual American Exhibition: Paintings, Sculpture; Art Institute of Chicago; The Note (pictured)

1954 Contemporary Painting and Sculpture from the Permanent Collection of IBM, Arizona State Museum, Harlem Saltimbanques

1964 Henri Gallery, Washington D.C. (solo)

1968 Salute to the Barnett Aden Gallery, Murphy Fine Arts Center, Morgan State College; Baltimore, MD

1970 Homage to Alain Locke; NY


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1975 Amistad II: Afro-American Art; Fisk University, Nashville, TN

1976 Black Artists in the WPA, 1933-1943: An Exhibition of Drawings, Paintings and Sculpture; New Muse Community Museum of Brooklyn, NY Two Centuries of Black American Art; Los Angeles County Museum of Art, CA

1977 American Black Art: Black Belt to Hill Country: The Known and the New; Battle Creek Art Center, MI

1978 WPA and the Black Artist: Chicago and New York; Chicago Public Library, IL

1982 Six Black Giants; Gallery 1221;Washington D.C.

1984 Charles Sebree: A Retrospective; Evans-Tibbs Collection, Washington D.C.

1985 Hidden Heritage: Afro-American Art, 1800-1950, Bellevue Art Museum, WA

1986 Unbroken Circle: Exhibition of African American Artists of the 1930’s and 1940’s; Kenkeleba House, NY

1990 Barnett-Aden African-American Art Collection. Legacy: Thirty Paintings of Black Women; Holgate Library, Bennett College, Greensboro, NC

1992 African American Artists of the Harlem Renaissance Period and Later; Sacks Fine Art, Inc., NY

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1993 African American Artists Then and Now; Sacks Fine Art, Inc,, NY

1994 The Harmon and Harriet Kelley Collection of African American Art; San Antonio Museum of Art, TX

1997 Revisiting American Art: Works from the Collections of Historically Black Colleges and Universities; Katonah Museum of Art, NY

1998 Narratives of African American Art and Identity: The David C. Driskell Collection; University of Maryland Art Gallery

Black New York Artists of the 20th Century: Selections from the Schomburg Center Collections; Schomburg Center for Research in Black Culture, NY

1999 To Conserve A Legacy: American Art from Historically Black Colleges and Universities; Andover, MA

African American Art in Chicago, 1900-1950; Robert Henry Adams Fine Art, Chicago, IL

The Great Migration: The Evolution of African American Art, 1790- 1945; Taft Museum of Art, Cincinnati, OH

1999 Southern Gate: African American Paintings from the National Museum of American Art, Smithsonian Institution; Duke University, NC

2000 The Walter O. Evans Collection of African American Art, Heckscher Museum of Art, Huntington. NY


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2003 Challenge of the Modern: African American Artists, 1925-1946; Studio Museum in Harlem

2004 Chicago Modern 1893-1945: Pursuit of the New; Terra Museum of American Art, IL Images of America, African American Voices: Selections from the Collection of Mr. and Mrs. Darrell Walker; Walton Arts Center, NC

2006 African American Art: New Deal to New Power; Robert Henry Adams Fine Art, Chicago, IL

2009 Tradition Redefined: The Larry and Brenda Thompson Collection of African American Art; David C. Driskell Center, University of Maryland

In Search of Missing Masters: The Lewis Tanner Moore Collection of African American Art; Woodmere Art Museum, Philadelphia, PA

2010 The Artist Emerging (Their Early Years); Essie Green Galleries; NY

2011 Converging Voices, Transforming Dialogue: Selections from the Elliot and Kimberly Perry Collection; University Museum, Texas Southern University, Houston, TX

2011 The Harmon & Harriet Kelley Collection of African American Art: Works on Paper; Amon Carter Museum, Fort Worth, TX

2013 1920s to 1940s Black Visual Culture; Essie Green Galleries, NY

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01Untitled (Harlequin’s Cocktail)gouache and beeswax with pigment on paper8-3/4” x 6”signed Sebree

A similar work is illustrated on the cover of The International Review of African American Art: The Many Faces of Charles Sebree, v. 18, no. 3, Saltimbanque in Moonlight

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02Untitled (Man at Bar)gouache and beeswax withpigment on paper4-3/4” x 4-1/2”signed C. Sebree LL

Illustrated: The International Review of African American Art: The Many Faces of Charles Sebree, v. 18, no. 3, p 2

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03Untitled (Saltimbanque)gouache and ink on paper4-1/2” x 3”signed Sebree

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04Untitled (Little Dancer)watercolor on paper6-5/8” x 3-3/4”signed verso

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05Untitled (Saltimbanque)gouache and ink on paper6” x 4”signed Sebree LL

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06Untitled (Figure in aGeometric Composition)gouache and beeswax with pigment on paper mounted on board7-1/2” x 6-1/4”signed Sebree LL

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07Untitled (Head of a Boy)gouache and ink on paper mounted on board7” x 5-1/2”signed verso

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08Untitled (Woman in a White Headdress)gouache and beeswax withpigment on paper9-1/2” x 6”initialed CS upper right

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09Untitled (Figure with Checkered Shirt)gouache and beeswax with pigment on paper laid down on board9” x 6”signed Sebree LLsketch verso

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10Untitled (Girl with Flower)1960watercolor and gouache, sgrafito, and elements of newspaper collage on paper12” x 9-1/2”signed and dated 1960 LL

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11Untitled (Masked Figureat Night)gouache and beeswax withpigment on paper10” x 8”signed C. Sebree UL

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12Untitled (Woman in White Headdress)gouache and beeswax with pigment on paper10-1/2” x 6-1/4”signed verso

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13Untitled (Portrait)gouache and beeswax with pigment on paper laid down on illustration board6” x 4”signed Sebree

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14Untitled (Masked Figure)gouache and beeswax with pigment on textured paper8-3/4” x 5-1/2”initialed LL

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15Untitled (Man in Pink Turban)gouache and beeswax with pigment on paper 7” x 5”signed verso

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16Untitled (Man With Vases)gouache and beeswax with pigment on paper laid down on illustration board9-1/2” x 6-1/4”signed C. Sebree LL

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17Untitled (Saltimbanque)enamel on ceramic tile5-3/4” x 5-3/4”signed

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18Untitled (Woman with Earring)felt tip pen on paper 11” x 8-1/2”signedsketch verso

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19Untitled (Woman With Flowers)gouache and beeswax with pigment on paper7-1/4” x 5-1/4”initialed LL

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20Untitled (Witch Doctor)gouache and beeswax with pigment and ink on gessoed board12” x 6”signed Sebree LR

Illustrated: The International Review of African American Art: The Many Faces of Charles Sebree, v. 18, no. 3, p. 10

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21Untitled (Burlesque Figure)gouache and beeswax with pigment on board14” x 7-1/4”signed Sebree UR


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22Untitled (Pensive Woman at Bar)felt tip pen on paper11” x 8-1/2”initialed LR

23Untitled (Head of a Woman with a Geometric Scarf)lithograph on paper9-3/4” x 6-1/2”signed in peninitialed

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24Benji1982gouache and beeswax with pigment on wallpaper10” x 8”signed Sebree and dated 82 LR

Illustrated: Black American Literature Forum, Charles Sebree Modernist, v. 19, no. 1 (Spring 1985), p. 7

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26Untitled (Woman With Plant)felt tip pen on tracing paper10” x 7”initialed LR

25Untitled (Woman With Plant)lithograph on green paper11” x 8-1/2”signed in ink UR

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27Untitled (Clown)gouache on illustration board6-1/2” x 5”initialed LR

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28Untitled (Man With a White Vase)gouache on wallpaper shaped like arch11” x 7”signed

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29Potter’s Placegouache and beeswax with pigment on paper laid down on illustration board6-1/2” x 8-3/4”signed Sebree LLinscribed verso, This painting belongs to Mr. & Mrs. Sanderstitled verso


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30Christmasgraphite on paper mounted on illustration board5-1/4” x 5”signed and dated 75 in ink

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31Untitled (Nurse)gouache on board10” x 8”

Head of a Man (verso) sepia sketchinitialed C.S.

32Untitled (Man in a Green Cap)gouache on board10” x 8”

Portrait of Christ (verso)sepia sketchinitialed C.S.

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addiTional WorkS available by charleS Sebree

34Head of a Womanc. 1950gouache and ink on illustration board 8-1/4” x 7-1/2”signed

33Head of a Manc. 1950gouache and ink on paper9” x 6”signed

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35Portrait of a Woman1947oil and mixed media on masonite20-1/4” x 14-1/4”signed and dated UL

Documents

The Scott Sanders Collection of Art by Charles Sebree (1914-1985)