A few examples of appraisal values for
AFRICAN NUDE

• GRP: AFRICAN CARVED WOODEN
  GRP: AFRICAN CARVED WOODEN OBJECTS - MASK BOWL SCULPTUR...Group of African carved wooden objects including a contemporary sculpture of a female nude, a delicate footed bowl, and a face mask with a rich, dark patina. Heights range from 4 3/4 in to 15 1/2 in. Widths range from 6 in to 7 1/2 in. Depths range from 3 1/4 in to 5 in. Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
• Diminutive West African (probably
  Diminutive West African (probably Baoule People) Carved and Patinated Wood Figure of a Nude Male, first quarter 20th century, retains the period red-lacquered bead necklace and braided rope cincture, presented on a custom white block display stand, h. 11-1/2".
• 19TH C. AFRICAN CARVED / PAINTED
  19TH C. AFRICAN CARVED / PAINTED NUDE ANCESTOR COUPLE**Originally Listed At $2000** West Africa, Nigeria, Igbo people, ca. 19th to early 20th century CE. A pair of tall hand-carved and painted wood figures, a nude couple with delineated genitalia between legs - here a male and a female. The scarification marks on the man are for beautification and indicate adulthood, while the white kaolin pigment indicates purity. Ancestor worship was practiced by many Nigerian cultures, and carvings were a way to anchor or house the spirits and direct prayer. Such figures are placed in shrines and venerated as family guardians, and as a couple working together these figures were more powerful together than single. Size: 6.5" L x 5" W x 22.5" H (16.5 cm x 12.7 cm x 57.2 cm); 24" H (61 cm) on included custom stand. Provenance: private New York, New York, USA collection; ex-Lynn Rosen collection, New York City, New York, USA, acquired in the 1970s All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #174647 Condition: Old inactive insect holes and losses to woman as shown. Chips / abrasions and stable pressure fissures on both figures. Fading to painted pigments and dark patina throughout. Overall good condition with age and exposure expected weathering.
• MAE ALICE ENGRON, AFRICAN
  MAE ALICE ENGRON, AFRICAN AMERICAN (1933-2007), ABSTRACT, OIL ON CANVAS, 48"H X 47"WMae Alice Engron, African American, (1933-2007) abstract, oil on canvas Signed with initials lower right. Biography from the Archives of askART: Mae Alice Engron was born, raised and died in Indianapolis, Indiana. After injuries sustained working as a civil servant, she attended Herron School of Art, receiving a Bachelor of Fine Arts degree in 1984, at the age of 42. She was an abstract painter who primarily painted with oil on canvas, although early in her practice, she also painted on foil to reflect light. Inspired by organic forms and patterns drawn from nature, her works center on floral abstractions, nudes, and traditional geometric abstraction and her own unique understanding of color. Mae's signature on her pieces – MAE – is as recognizable as her work. Mae was a featured artist in many exhibitions in Indianapolis, Indiana, specifically the Indiana State Museum, Indiana Black Expo, Indiana Art League, Indianapolis, Public School Business Center. Her work is in the collection of the Smithsonian American Art Museum, the Indiana State Museum, as well as PepsiCo and in private collections throughout the US and Germany. In 1991, Mae was included in "There But for the Grace: a tribute to pathfinders and visionaries", a group show of national artists at Gallery Tanner in Los Angeles. The inclusion in Gallery Tanner's exhibition on groundbreaking artists situates Mae as a seminal figure in abstraction. At the height of her career, she was one of few black women painters in pure abstraction following the death of Alma Thomas in 1978. She said, "I paint the way I feel. When my life is in order and everything is running smoothly, I paint the geometric. When I am down, I paint lines. When I feel love, I paint flowers. When I am feeling easy, I paint flowing paintings…" Her imagery resembles tradition African American textiles as well as highlights an iconography of shape made more significant and expressive through rich color palettes. There is also a palpable sense of humor in Mae's work. Her mood paintings are a culmination of her understanding of the color, the medium and of herself. In November 2016, Quotidian, an LA roving gallery, mounted "Mae Engron: No Date No Title." As part of the exhibition programming, Tavis Smiley and curator Jill Moniz had a conversation about Mae's practice and her emotionally charged abstracts. Quotidian produced the No Date No Title catalog, the only catalog to date of Engron's work. Written and submitted by Jill Moniz, phd, curator of the artist's estate. oil on canvas Dimensions: 48"H x 47"W
• CARVED AFRICAN FIGURAL FLOOR
  CARVED AFRICAN FIGURAL FLOOR LAMP: Elaborately carved African floor lamp having numerous figures, some nude & some carrying pots. Surmounted by a scrolling foliate beige pattern. Approx. 77.5'' h x 21'' w. CONDITION: One arm broken, Minimal wear consistent with age and use.
• CONTINENTAL IVORY NUDE CARVED
  CONTINENTAL IVORY NUDE CARVED FIGUREAntique early 20th C carved statue, European possibly French. Art Deco nude woman holding a draped piece of cloth across her back. 3-5/8" H. Please note: The item is carved from antique, pre-ban African elephant ivory. The item can be shipped onlywhere allowed by law. Some discoloration and evidence of age. See images for more details on condition. shipping info This item can be shipped in-house.
• Robert Lohman (American, 1919-2001)
  Robert Lohman (American, 1919-2001) African male nude ethereal dancers Oil on canvas laid on board Signed and dated '77 lower right 27 1/4" x 25 1/4"
• JOSEPH DELANEY WATERCOLOR
  JOSEPH DELANEY WATERCOLOR PAINTING W/ PRAYING & MOURNIN...Joseph Delaney (Tennessee/New York, 1904-1991) c. 1940 watercolor on paper mounted to board figural study painting depicting a group of African American figures including a reclining, nude woman, perhaps deceased, surrounded by figures who pray or grieve -possibly an allusion to the Deposition of the Virgin. A woman clad in green carefully pulls a textile over the reclining nude while a grey-haired man's outstretched arms suggest Christ's crucifixion. The work also bears some interesting similarities to the Harlem Hospital "Magic in Medicine" mural, 1939, by Charles Alston, with which Joseph's brother, Beauford Delaney, assisted (ref. Pierce, Lemoine (2004). "Charles Alston – An Appreciation". The International Review of African American Art (4): p. 33–38. Signed "Jos Delaney," lower right. Housed behind glass in a painted wooden frame. Board: 16" H x 16" W. Frame: 17 3/8" H x 17 1/4" W. Biographical note: Joseph Delaney was born in Knoxville in 1904, the ninth of ten children born to a Methodist Minister. He and his older brother, Beauford, discovered their interest in art by drawing on Sunday School cards. In 1930, Joseph left Tennessee for New York where Beauford was also working as an artist, and enrolled in the Art Students League under the tutelage of Thomas Hart Benton and Alexander Brooke. The subject matter he found there, including the city's landmarks and its people, are the images for which he is best known. In 1986, Delaney returned to Knoxville to live and was artist-in-residence for the University of Tennessee Art Department until his death in 1991. Delaney's works are included in the collections of the Metropolitan Museum of Art, The Chicago Art Institute, The Knoxville Museum of Art, and The Smithsonian American Art Museum. (Courtesy of Frederick C. Moffatt) Condition: Paper is glued to board. Adhesive from glue or old tape is visible along paper's edge in lower left corner. Work may be cut down.
• Three early 20th century African
  Three early 20th century African ivory tusks carved with nudes and animals largest 26in. Estimate ?300-500 Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.Sold for ?300
• MAE ALICE ENGRON, AFRICAN
  MAE ALICE ENGRON, AFRICAN AMERICAN (1933-2007), ABSTRACT, OIL ON CANVAS, 27 5/8"H X 29 1/2"W, 31 5/8"H X 33 1/2"W (FRAME)Mae Alice Engron, African American, (1933-2007) abstract, oil on canvas Signed with initials lower right. Biography from the Archives of askART: Mae Alice Engron was born, raised and died in Indianapolis, Indiana. After injuries sustained working as a civil servant, she attended Herron School of Art, receiving a Bachelor of Fine Arts degree in 1984, at the age of 42. She was an abstract painter who primarily painted with oil on canvas, although early in her practice, she also painted on foil to reflect light. Inspired by organic forms and patterns drawn from nature, her works center on floral abstractions, nudes, and traditional geometric abstraction and her own unique understanding of color. Mae's signature on her pieces – MAE – is as recognizable as her work. Mae was a featured artist in many exhibitions in Indianapolis, Indiana, specifically the Indiana State Museum, Indiana Black Expo, Indiana Art League, Indianapolis, Public School Business Center. Her work is in the collection of the Smithsonian American Art Museum, the Indiana State Museum, as well as PepsiCo and in private collections throughout the US and Germany. In 1991, Mae was included in "There But for the Grace: a tribute to pathfinders and visionaries", a group show of national artists at Gallery Tanner in Los Angeles. The inclusion in Gallery Tanner's exhibition on groundbreaking artists situates Mae as a seminal figure in abstraction. At the height of her career, she was one of few black women painters in pure abstraction following the death of Alma Thomas in 1978. She said, "I paint the way I feel. When my life is in order and everything is running smoothly, I paint the geometric. When I am down, I paint lines. When I feel love, I paint flowers. When I am feeling easy, I paint flowing paintings…" Her imagery resembles tradition African American textiles as well as highlights an iconography of shape made more significant and expressive through rich color palettes. There is also a palpable sense of humor in Mae's work. Her mood paintings are a culmination of her understanding of the color, the medium and of herself. In November 2016, Quotidian, an LA roving gallery, mounted "Mae Engron: No Date No Title." As part of the exhibition programming, Tavis Smiley and curator Jill Moniz had a conversation about Mae's practice and her emotionally charged abstracts. Quotidian produced the No Date No Title catalog, the only catalog to date of Engron's work. Written and submitted by Jill Moniz, phd, curator of the artist's estate. oil on canvas Dimensions: 27 5/8"H x 29 1/2"W, 31 5/8"H x 33 1/2"W (frame)
• COLLECTION OF 32 ETHNOGRAPHIC
  COLLECTION OF 32 ETHNOGRAPHIC SCULPTURES & MASKS, MOSTL...A collection of thirty-two (32) ethnographic carvings and sculptures, including items from Mozambique, Madagascar, and Cuba plus a lidded basket, thirty-three (33) items in total. Includes 1 wooden African mask (12" x 6" x 7"), 2 Madagascar carved wood figures of man and woman carrying a baby, 1 bust length carved wood (possibly ebony) figure of a nude woman, 1 polychrome carved wood figure with rope around neck, 1 carved mancala game board with rhinoceros decoration to lid and interior compartments with small game pieces, 1 abstract bust, 1 mask with figural finial, 2 animal figures, 2 female figures carrying baskets atop their heads, 1 male figure, 1 totem with busts, 1 totem with three figures depicted seated atop one another's head holding a cup, and 1 Cuban carved Guayacan wood figural group depicting fish, turtles, and dolphin. Figures range from 9" H to 47" H. Also includes a set of 13 African ceramic figures depicting various members of a tribe, plus 1 round table laden with food and drink, housed inside 1 colorful woven basket. Ceramic figures each approximately 4 3/4" H, basket 12 1/2" H x 10" diameter. Plus 2 turtleshell masks and 1 metal yoke with figure upon a horse. All items 20th century except for mask, which may be older. The Estate of Raymond White, Nashville, Tennessee. Condition: Mask with considerable wear and some surface losses. 1 ceramic figure has tiny chips to base, 1 other has a few scattered tiny chips. All items in otherwise good condition.
• MAE ALICE ENGRON, AFRICAN
  MAE ALICE ENGRON, AFRICAN AMERICAN (1933-2007), ABSTRACT FIGURE, OIL ON CANVAS, 37 1/4"H X 31 1/2"W, 41 1/2"H X 35 1/2"W (FRAME)Mae Alice Engron, African American, (1933-2007) abstract figure, oil on canvas Signed with initials lower right. Biography from the Archives of askART: Mae Alice Engron was born, raised and died in Indianapolis, Indiana. After injuries sustained working as a civil servant, she attended Herron School of Art, receiving a Bachelor of Fine Arts degree in 1984, at the age of 42. She was an abstract painter who primarily painted with oil on canvas, although early in her practice, she also painted on foil to reflect light. Inspired by organic forms and patterns drawn from nature, her works center on floral abstractions, nudes, and traditional geometric abstraction and her own unique understanding of color. Mae's signature on her pieces – MAE – is as recognizable as her work. Mae was a featured artist in many exhibitions in Indianapolis, Indiana, specifically the Indiana State Museum, Indiana Black Expo, Indiana Art League, Indianapolis, Public School Business Center. Her work is in the collection of the Smithsonian American Art Museum, the Indiana State Museum, as well as Pepsico and in private collections throughout the US and Germany. In 1991, Mae was included in "There But for the Grace: a tribute to pathfinders and visionaries", a group show of national artists at Gallery Tanner in Los Angeles. The inclusion in Gallery Tanner's exhibition on groundbreaking artists situates Mae as a seminal figure in abstraction. At the height of her career, she was one of few black women painters in pure abstraction following the death of Alma Thomas in 1978. She said, "I paint the way I feel. When my life is in order and everything is running smoothly, I paint the geometric. When I am down, I paint lines. When I feel love, I paint flowers. When I am feeling easy, I paint flowing paintings…" Her imagery resembles tradition African American textiles as well as highlights an iconography of shape made more significant and expressive through rich color palettes. There is also a palpable sense of humor in Mae's work. Her mood paintings are a culmination of her understanding of the color, the medium and of herself. In November 2016, Quotidian, an LA roving gallery, mounted "Mae Engron: No Date No Title." As part of the exhibition programming, Tavis Smiley and curator jill moniz had a conversation about Mae's practice and her emotionally charged abstracts. Quotidian produced the No Date No Title catalog, the only catalog to date of Engron's work. Written and submitted by jill moniz, phd, curator of the artist's estate oil on canvas Dimensions: 37 1/4"H x 31 1/2"W, 41 1/2"H x 35 1/2"W (frame)
• BLACK AMERICANA: FIVE TIN
  BLACK AMERICANA: FIVE TIN CONTAINERS WITH AFRICAN AMERICAN PAPER LABEL ADVERTISING, C. 1925 - 30'S, INCLUDING: STORE TIN FOR ZANZIBA...BLACK AMERICANA: Five tin containers with African American paper label advertising, c. 1925 - 30''s, including: store tin for Zanzibar-Brand Seasoning depicting semi-nude African women, c. 1924, applied label, some discoloration and missing pieces of labels, tin has dents and scuffing, 11" h. x 8 1/4" w. x 8 1/4" d.; and four smaller tin containers, c. 1930''s: "Uncle Remus Syrup", 4 1/8" diameter x 4 1/2", minor pieces missing from label; "Topsy Molasses", pieces missing from label, discoloration, 3 1/2" diameter x 5"; "Aunt Dinah Molasses", some discoloration in label, holes punched in lid, 4" diameter x 4 1/2"; "Scully''s Mary Anne Molasses", discoloration in label, 4" h., all pieces with wear consistent with age and use including toning, minor damages and loss.
• AUSTRIAN ANZENGRUBER KERAMIC
  AUSTRIAN ANZENGRUBER KERAMIC FIGURE: Semi nude African woman with drum. 12''h., 8 1/4'' wide.
• GROUP OF FIVE AFRICAN MASKS AND
  GROUP OF FIVE AFRICAN MASKS AND FIGURES, TO INCLUDE A P...Group of Five African Masks and Figures, to include a painted mask with straw hair, height 13 inches on stand; small carved mask; painted figure of a nude woman and child; tall figural mask; along with an oblong mask having shell border Condition: tall figure of woman with loss, rest with minor loss, photoed all issues. From a private institution. All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
• FEMALE NUDE SCULPTURE IN THE
  FEMALE NUDE SCULPTURE IN THE AFRICAN TASTE, 20TH C Female seated nude figure, an ebonized wooden sculpture in the African taste, depicting the figure with one arm raised (loss to left arm). 17" H
• ANGEL BOTELLO "2 NUDES AT THE
  ANGEL BOTELLO "2 NUDES AT THE BEACH" LINOCUT Angel Botello (Puerto Rico, 1913-1986), "Nude Figures at Beach", linocut on Japan paper, numbered at lower left 16/50, signed at lower right, framed. Provenance: From the Estate of Marilyn "Mickey" Bord, New York, NY. A native New Yorker, Bord formed a deep personal and professional relationship with famed dancer and choreographer Alvin Ailey. Mickey dyed and sewed costumes for the Alvin Ailey Dance Company and eventually served as archivist. Ailey's foundational interest in the African American cultural experience informed the art collection that he assisted Marilyn in acquiring, much of which is offered in this auction. Sight approx. h.14.25 ", w. 17.5". Overall. h.23.5", w. 27".
• MAE ALICE ENGRON, AFRICAN
  MAE ALICE ENGRON, AFRICAN AMERICAN (1933-2007), APPLES, OIL ON CANVAS, 42"H X 39"WMae Alice Engron, African American, (1933-2007) apples, oil on canvas Signed with initials lower right. Biography from the Archives of askART: Mae Alice Engron was born, raised and died in Indianapolis, Indiana. After injuries sustained working as a civil servant, she attended Herron School of Art, receiving a Bachelor of Fine Arts degree in 1984, at the age of 42. She was an abstract painter who primarily painted with oil on canvas, although early in her practice, she also painted on foil to reflect light. Inspired by organic forms and patterns drawn from nature, her works center on floral abstractions, nudes, and traditional geometric abstraction and her own unique understanding of color. Mae's signature on her pieces – MAE – is as recognizable as her work. Mae was a featured artist in many exhibitions in Indianapolis, Indiana, specifically the Indiana State Museum, Indiana Black Expo, Indiana Art League, Indianapolis, Public School Business Center. Her work is in the collection of the Smithsonian American Art Museum, the Indiana State Museum, as well as PepsiCo and in private collections throughout the US and Germany. In 1991, Mae was included in "There But for the Grace: a tribute to pathfinders and visionaries", a group show of national artists at Gallery Tanner in Los Angeles. The inclusion in Gallery Tanner's exhibition on groundbreaking artists situates Mae as a seminal figure in abstraction. At the height of her career, she was one of few black women painters in pure abstraction following the death of Alma Thomas in 1978. She said, "I paint the way I feel. When my life is in order and everything is running smoothly, I paint the geometric. When I am down, I paint lines. When I feel love, I paint flowers. When I am feeling easy, I paint flowing paintings…" Her imagery resembles tradition African American textiles as well as highlights an iconography of shape made more significant and expressive through rich color palettes. There is also a palpable sense of humor in Mae's work. Her mood paintings are a culmination of her understanding of the color, the medium and of herself. In November 2016, Quotidian, an LA roving gallery, mounted "Mae Engron: No Date No Title." As part of the exhibition programming, Tavis Smiley and curator Jill Moniz had a conversation about Mae's practice and her emotionally charged abstracts. Quotidian produced the No Date No Title catalog, the only catalog to date of Engron's work. Written and submitted by Jill Moniz, phd, curator of the artist's estate. oil on canvas Dimensions: 42"H x 39"W
• PAUL AWASSUME (AFRICAN 20TH
  PAUL AWASSUME (AFRICAN 20TH CENTURY), TWO WOMEN CARRYING BUNDLES OF STICKS AND FEMALE NUDE: TWO WORKS, EACH OIL ON CANVAS FRAME OF LARGER: 29 X 21 IN. (73.7 X 53.3 CM.)Paul Awassume (African 20th Century), Two Women Carrying Bundles of Sticks and Female Nude: Two Works, each oil on canvas, Dimensions: Frame of larger: 29 x 21 in. (73.7 x 53.3 cm.)
• AFRICAN SHONA FIGURAL SCULPTURE,
  AFRICAN SHONA FIGURAL SCULPTURE, FEMALE NUDE Shona school, late 20th century. African stone Shona sculpture of bending female nude. Signed illegibly; with pedestal. Provenance: The Private Collection of Mr. Noel F. Parris, Fayetteville, Georgia.
• JOSEPH HOLIDAY, INDIANAPOLIS
  JOSEPH HOLIDAY, INDIANAPOLIS (1927 - 1990), FEMALE NUDE ON THE SHORE, OIL ON CANVAS, 11 1/2"H X 39 1/2"W (SIGHT), 16 1/2"H X 44 1/2"W (FRAME)Joseph Holiday, Indianapolis, (1927 - 1990) female nude on the shore, oil on canvas Signed lower right. Biography from Ripley Auctions Biography from the Encyclopedia of Indianapolis: (Nov. 6, 1927-June 30, 1990). Joe Holiday was born in Chicago, Illinois, the seventh of eight children of Joseph and Gussie Hunt Holiday. Holiday's father died when he was two years old, after which the family moved to Indianapolis where Holiday resided until his death. Holiday may have heard stories about his father's creativity that would inspire his artistry much later in life. As a cabinet maker, Holiday's father fashioned ornate designs in wood and painted glass. As an adult, the younger Holdiay would go on to create frames for his own artwork, fashioning some of the more unusual pieces from ornate headboards and rough weathered wooden planks. In Indianapolis, Holiday created his first pencil drawing at age 5 and sold his first pencil sketch at age 6 to neighbors. Later, at CRISPUS ATTUCKS HIGH SCHOOL, Holiday's teachers encouraged his creativity and made it possible for him to attend the JOHN HERRON SCHOOL OF ART in Indianapolis. He also studied at the Art Institute of Chicago. Holiday lived and worked at his home studio on North Illinois Street in Indianapolis. He is known for his facial studies, particularly of African Americans and Africans. Most of his work is in oil where he uses a palette knife and brush, though some of his work shows his skill using pastels. Rather than using live models to guide his painting, Holiday preferred to study slides of photos his brother took from his travels to Africa to channel inspiration for his creations. Holiday said of his work, "I constantly observe people . . . and when I paint, I try to capture the moods and feelings I see." Portraiture did not appeal to Holiday. He viewed it as a reductive task rooted in achieving a likeness of the subject rather than an expression of the subject's mood. Holiday drew inspiration for his combination of realism and mood by studying the art of Andrew and Jamie Wyeth and Norman Rockwell. Though Holiday's subject matter remained constant throughout his career, his artwork continued to mature as he studied the techniques of Michaelangelo and DaVinci from his ample collection of art history books. Holiday participated in many one-man shows partly because Indianapolis had few opportunities and spaces where up-and-coming artists, let alone Black artists could display their work in the 1960s. The limited number of commercial and nonprofit galleries tended to work with established artists. Those galleries that existed were located on Indianapolis' Old Northside and the burgeoning art colony in Broad Ripple (See ART GALLERIES). However, he did find venues to showcase his work. For example, he exhibited and won prizes at the INDIANA STATE FAIR HOOSIER SALON. In the late 1960s, his work was displayed in the lobbies of Indianapolis theatres and businesses. U.S. state senator Rupert Vance Hartke (D-IN) hung a Holiday painting in his Washington, D.C., office as did an unidentified U.S. state representative from Indiana. Limited exposure of Holiday's work combined with the economic price-point of his paintings, most of his oil paintings listed at a starting price of $75 and the pastels at $25, may have made full-time dedication to art untenable. He taught art in the program services department at the Camp Atterbury Job Corps Center in 1970. Later he taught art at Holy Angels Schools. oil on canvas Dimensions: 11 1/2"H x 39 1/2"W (sight), 16 1/2"H x 44 1/2"W (frame)
• AFRICAN LUBA CARVED WOOD FEMALE
  AFRICAN LUBA CARVED WOOD FEMALE FIGURE SCULPTURE African, Baluba people of the Democratic Republic of Congo, hand-carved wood reliquary staff statue in the form of a nude woman holding a vessel, her hair in three braids, the fertility figure perched atop a tiered geometric stand, mounted atop a metal base. 55" H x 8" W x 8" D. Provenance: Property from a Kings Point, NY collection.