EXHIBITION OF I'RODUC ['IONS BY

NEURO ARTISTS

WOMAN HOLDING A JUG James A. Porter

1'KBSKNTIiD BY TUB H ARMON FOUNDATIO N AT THE ART C E N T I: R 193 3 PEARL Sjrgent Johnson Recipient of the Roben C. Ugden Prize of fiJ0

'Ilie Picture''^^r^Ä;Ä,sÄ^^ by James .1. I ft'^'/!t

All the photogtaphic Kork for this catalog ami tl„- i-\i„h ;• , , e ^mesLat^Al!en,213W:tJ^ZTZ7o^^T" Negro photographer THF HARMON FOUNDATION

IN COOPERATION WITH THE

NATIONAL ALLIANCE OF ART AND INDUSTRY

PRES E S' T S A S'

E N H I B I T I O N

O F W 0 R K 1! V N F G R O AR TI S TS

A T T H E

A R T C E N T K R 65 RAST ?6TH STREET , X. Y.

February 2(1 to March 4, 1933 l inclusive) Weck Days from 10 A.M. to 6 P.M. Sunday, February 26, from 1 to 6 P.M. Evenings of February 20, 2S, 27 and March 2, until ten o'clock

Il A R M O X F O U N 1) AT 1 O X INCORPORATKD 140 NASSAU STREET NEW YORK, N. Y.

\V. Burke Harmon, President Helen Griffiths Harmon, Vice President Samuel Medine Lindsay, Economic Advise Mary Beattie Brady, Director Evelyn S. Brown, Assistant Director PROFILE OF NEGRO GIRL Eirl: Wi'.ton Richardson Received the Hon Bernent P trina! Prize of $75. FOREWORD

'l'Ili'". 1933 exhibition of work by Negro artists spoiv -*- sored by the Harmon Foundation is the fifth held by the organization in the City of New York. Begvtn in 1928, no showing- was held in 1932 as it was de­ cided to stress more intensively through that year travelling exhibitions throughout the country. Fur­ thermore, it seemed desirable before conducting ad­ ditional showings to determine to what extent a public demand for such had been developed and how much Negro artists themselves desired this special service in addition to their opportunities for entering work in general exhibitions. The earnest requests both from artists and those interested in the work of this group have been so continuous that it was decided to under­ take the assembling of material for this exhibition. The fact that of the fifty-seven artists whose work is represented this year twenty-nine are presented for the first time under Foundation auspices gives some idea of the extent to which these exhibitions arc filling a distinct need. It also indicates the growing activity in self-expression in art among the Negro group. In the live exhibitions of work held so far, a total of one hundred twenty-five artists have participated, representing a wide geographical distribution. Started primarily as a part of the general program of recog­ nitions of outstanding achievement in various types of creative work through the William lì. Harmon Awards for Outstanding Achievement among Negroes, the art section has grown to a point where it clearly stands on its own merits. It begins to be a distinct contribution to the development of art expression in America. The growing individuality of expression shows a simplicity and directness of presentation that gives evidence of the place the Negro is making lor himself in the field of line art. In previous years work of artists from continental FOREWORD

United States only has been shown. Gradually, how­ ever, the Foundation has learned of artists not only in our own island dependencies to the south but among our neighboring countries in the West Indies. A real contribution to the exhibit is found in the eight pieces of sculpture by Teodoro Ramos Blanco, a thirty-two year old artist of Havana, Cuba. His work has not previously been shown in the . It is hoped that this beginning may be a fore­ runner of other similar activities. The Foundation has been exceedingly fortunate in having the friendly counsel and suggestion of Arthur A. Schomburg, curator of the Department of Negro Literature, History and Prints of the 135th Street branch of the . For thirty- years in quest of books, prints and data pertaining to the African descendants, Mr. Schomburg has acquired a wide knowledge of the present as well as the past achievements of Negroes all over the world and par­ ticularly in the Western hemisphere. A native of Puerto Rico, and himself a graduate of an art school in San Juan, Mr. Schomburg has devoted himself to the study of the art history of the islands. It was a result of Mr. Schomburg's travels in Cuba in the fall of 1932 and his acquaintance with artists there that resulted in bringing Teodoro Ramos Blanco's work to this country. Inasmuch as the general program of Awards for Distinguished Achievement Among Negroes is not active in 1933 no awards in art are given. The Foun­ dation, however, is fortunate in having six prizes. Through the generosity of Mrs. Alexander Purves of Hampton, Virginia, a prize of $150 for the outstand­ ing piece in the exhibit was given. In memory of the services rendered by her father for the advancement of the Negro this was named the "Robert C. Odgen Prize." For the selected by the judges as of most general merit a prize of $100 was given by l'OREWORD

Mrs. John 1). Rockefeller, Jr., as evidence of her in­ terest in this phase of art creation. The other four prizes this year have been named in recognition of special services by groups and indivi­ duals wdiose helpful encouragement and work have meant much in the progress of these exhibitions and interest in art achievement of Negroes. A prize of $100 in sculpture has been named the John Hope Prize in recognition of the emphasis Dr. John Hope, Presi­ dent of University, has placed on creative work in art for many years and for the moral and practical support he has given to numerous striving artists. A portrait prize of $100 has been named for Arthur A. Schomburg because of the high degree of service he has and is'rendering in continuously bring­ ing to public attention not only work of artists al­ ready known, but in new hitherto unheard of persons The Foundation has been most fortunate in its con­ tact with the National Alliance of Art and Industry The development of its exhibition program has been stimulated and greatly helped b_v the friendly coun­ sel and gentle schooling of Mr. Alon Bernent, the director of the organization. It was largely through his insistence and the generous cooperation of the National Alliance of Art and Industry that this exhi­ bition was made possible, and so, the portrait prize of $75 has been named in honor of Mr. Alon Bernent. Finally, in recognition of the initial inspiration and invaluable help of the Commission on Race Relations and its secretary, Dr. George E. Haynes, in devel­ oping not only the wdiole program of achievement awards, but also in starting the Art Exhibit, two spe­ cial prizes have been given : for work in black and white and for outstanding examples of photography. FETICHE FT FLEURS Palmer Haytlen Received Pointing Prize of $100. THE NEGRO TAKES HIS PLACE IN AMERICAN ART

r"FHERE ARK, I take it, three objectives to the move­ ment in Negro art of which this fifth Harmon Exhibition of the Work of Negro Artists is an integral part, and to which, in the years of its activity, it has made and is making a formative and important con­ tribution. One is the encouragement of the Negro artist; another, the development of Negro art; and a third is the promotion of the Negro theme and subject as a vital phase of the artistic expression of American life. Six years ago the share of Negro subject material in the field of American fine art was negligible; little, if anything, was being done for the encouragement of the Negro artist as such, and main- thought that there was some implied restriction and arbitrary limitation of the Negro artist in the program of Negro art as "racial self- expression". Yet in the short intervening space of time, practically each of these situations has been reversed in a spurt of accumulative and perfectly compatible development. As a net result not only is the Negro and his art more definitely upon the artistic map, but the Negro theme and subject is coming increasingly to tin: fore in the general field of art interest, as any analysis of today's art exhibitions will show if compared with similar exhibitions of even five years ago. Some day, it is to be hoped, an exhibition of contemporary American art dealing with the Negro theme and subject, irrespective of the racial affiliation of the artists, will be sponsored and that it will show a remarkable development in increased emphasis, deepened interest, and reveal mature mastery and understanding of the general handling of the Negro theme in painting, sculpture and the graphic arts—a development parallel to the remarkable growth of the Negro artist which these Harmon exhibits have so unmistakably shown. We may well pause for a moment to consider the causes of this advance and to estimate briefly its gains. A few years back there were Negro artists, but little 10 THE NE0RO TAKES HIS PLACE IN ART

or no Negro art. Most of our artists subscribed to the creed that racialism in art was an unwarranted restric­ tion, but they either avoided racial subjects or treated them gingerly in what I used to call "Nordic transcrip­ tions". As a result, contrasted with the vital self-expres­ sion in poetry, fiction, drama and music, there was almost nothing representative or racial in the field of the fine arts. While the poets, playwrights, writers and musicians were in the sunlight and warmth of a proud and positive race-consciousness, our artists were still for the most part in an eclipse of chilly doubt and disparagement. Why? I think mainly because social prejudice had seized on the stigma of color and racial feature, and the Negro artist was a sensitive victim of this negative color-consciousness and it sinhibitions. Sad as was the plight of Negro art in his hands, as long as the Negro artist was in this general frame of mind, his whole expres­ sion was to some extent weak and apologetic in concep­ tion and spirit, because it was bound to be derivative, indirect and falsely sophisticated. As the Negro subject has become more popular with the Negro artist, a steadily maturing firmness and origin­ ality in the handling of non-racial subjects have been a noteworthy and, I think, a not unconnected accompani­ ment. In 1929 a young Negro painter, with a creditable prize record at one of the great national schools of art, refused an invitation to exhibit in a special showing of Negro artists. He very seriously, and at that time per­ haps pardonably, preferred to try for recognition "as a painter, not as a Negro painter". After an award of a fellowship for foreign study on his technical merits and promise, he was in two years' time exhibiting in the suc­ cessor of the show he first refused to join, six — five of them studies of race types, and one perhaps the most striking color study of a pure blood type that I have ever seen from the brush of an American artist, black or white. It is of still greater significance that this artist's con­ version of attitude seems to have occurred primarily or THE NEGRO TAKES HIS PLACE IN ART 11

entirely on artistic and technical rather than sentimental or sociological grounds. Welcome as is the very real and vital racialism that is now stirring in the world of the Negro artist, it is artistically important as a sign of aesthetic objectivity and independence, and thus a double emancipation from apologetic timidity and academic imitation. We are now able to see that Negro art does not restrict the Negro artist to growth in his own soil exclusively, but only to express himself in originality and unhampered sincerity. In fact, the relation of the Negro artist to his subject matter is not so very different from the relation of his white fellow artist to the same material, with the pos­ sible exception and advantage of closer psychological contact and understanding. It is important local color material, or provincial or national subject matter to both, and the development of the theme in contemporary American art is more and more demonstrating this. We must soon begin, now, the frank and objective comparison of the work of the outstanding Negro artists with that of men like William Benton, James Chapin, Julius Bloch, Covarrubias, Orozco, Maurice Sterne, William McFee—to name some of the outstanding few who have notably touched the Negro subject in their art—no matter how bold or temporarily disparaging the contrast. The rapid mastery of his provincial handi­ caps by the Negro artist makes parity hopeful and eventually certain. There was a time, and not so far back, that the white American artist was in a no better rclative position when compared with the more mature schools and traditions of European art. Every successive showing of Negro artists seems to bring Negro and white American artists closer together in this common interest in the promotion of Negro art and over the common denominator of contemporary American art expression. One other denominator suggested by the inclusion of a Negro artist from Cuba in this exhibition is that of an interest, far from academic, in uniting for purposes of comparison the work of Negroes separated by differences 12 Uli: Mil,KO FAKTS HIS PLACE IN ART of cultural background and artistic tradition. The inclusion of the interesting sculpture of Teodoro Ramos Blanco makes another interesting beginning in the stimulating influence that has emanated from these shows. Its logical extension will certainly bring together the little known but increasing contemporary art work of the native African. I have no doubt that each segment of Negro expression will show more in common with its own immediate art background; but the question of distinctive racial idiom or aptitude is purely theoretical and academic until such broad scale comparisons can actually be made. In last analysis we should not expect art to answer or solve our sociological or anthropological questions. We must judge, create and consume it largely in terms of its universal values. But no art idiom, however uni­ versal, grows in a cultural vacuum; each, however great, always has some rootage and flavor of a particular soil and personality. And just as it has been a critical necessity to foster the development of a national cha­ racter in the American art of our time, by the ver­ sarne logic and often by the very same means, it has been reasonable and necessary to promote and quicken the racial motive and inspiration ol the hitherto isolated and disparaged Negro artist. The day may soon come, however, when he will need no special encouragement and no particular apologetic brief. It is good both for him and for American art that he is so rapidly reaching maturi tv.

I'rufe s sor of Philosophy Howard lrniversity NEWS HAPPENINGS IN THE FIELD OF NEGRO ART

During its close asso­ ciation with the art pro­ duction of Negroes, the I larmon Foundation has endeavored to collect such information as has been available on happenings which bear on develop­ ments in the field. Lack of space in this catalog ] ire vents as extended a mention of items as might be desired ; however it is hoped that these may be expanded in a future pub­ lication. The Foundation w o u 1 d , therefore, be Entrance to Gallery pleased at all times to Howard University have new tacts brought to its attention either by those whom they concern or b}' others with knowledge of them. At Atlanta, Fisk and Howard Universities, all lead­ ing institutions of higher education for Negroes, the consideration of art has come increasingly to the fore­ ground within the past few years. I I ale A. Woodruff, who, following his study at the John Herron Art In­ stitute at , spent four years abroad, was appointed to the staff at Atlanta University as an in­ structor in art in 1931. Mr. Woodruff has brought to the academic atmosphere of the university an ear lier experience as Y. M. C. A. secretary, and in his art the abundant vitality of his private study of the French moderns in Europe. Murals in the new library at Fisk University were done during 1931 by , a young Negro artist who graduated from the University oi Nebras­ ka and studied art under Winold Reiss. These murals have been executed in modern style of geometric out- 14 NEWS HAPPENINGS IN NEGRO ART lines, flat planes and colors applied in broad masses. Blue and green in various tones are the dominant col­ ors, with reds and yellows used for contrast. In his paintings, Mr. Douglas has told the story of the Ne­ gro's progress from Central Africa to present clay America avoiding sentimentality and bitterness. Flashes of jungle life, chained slaves marching to the waiting boat, and Christianity, which the Negro has adapted to meet his need for spiritual satisfaction in his new world, is symbolized by a skull and out­ stretched wings—the flight of a soul to eternal life. The topography and outstanding- monuments taken from Asia, Africa, Europe and America make up the murals in the periodical room ; and seven panels in the public catalog room depict philosophy, drama, music, poetry, night and day. Associated with Mr. Douglas in his work on the murals was Edwin Au­ gustus Harleston, now deceased, whose portraits have attracted wide attention for several years. Visioning the manifold benefits that might accrue from a practical program, the Department of Art at 1 lo ward University sponsored the organization of The Friends of Art in 1931. This is a societv of largely Negro membership which hopes to awaken and main­ tain a greater civic interest in art among and pertain­ ing to Negroes. Its aims have been promoted thus far through the sponsoring- of two successful exhibits and the purchase for the Howard gallery of two paint­ ings, Going to Her First Communion by William Edou­ ard Scott, and Bridge T^ear Avallon, France by 11 ale A. Woodruff. Through a grant of $5.000 from the Carnegie Cor­ poration in 1932, the Art Department at Howard pur­ chased an Art Teaching Equipment Set. This includes books on art. mounted plates, reproductions of gra­ phic art studies and original mounted textiles. The Department has held seventeen exhibits dur- NEWS HAPPENINGS IN NEGRO ART L5

ing 1931-1932 and for the current season has a sche­ dule of fourteen planned. The work of students has been sent out for about nine different showings, go­ ing- to libraries, junior colleges, preparatory schools and joining with other student exhibits. For a number of years, the 135th Street Branch of The New York Public Library has been a nucleus for art interests in . The first exhibition of cul-

MURAI. IN FISK UNIVERSITY LIBRARY BY AARON- DOUGLAS turai works by persons of African descent took place there during 1926, and since then there have been shown occasionally, the works ol artists and other productions which people have wished to lend for public appreciation. Contemporary Negro art has been represented in exhibits during the past year by prints of Henry Boze- man (ones, lithographs by Bernie Robynson, sculp- 16 NEWS HAPPENINGS IN NEGRO ART

tures by Sargent Johnson and , stu­ dies of Maurice Hunter, a model who poses for draw­ ings and photographs typifying the African character, and photographs of the sculptures and paintings oi two Cubans Teodoro Ramos Blanco and Pastor Agudin. Haitian literature and historical manuscripts with rare prints were shown during an Adult Education program, with the Haitian Minister, The Honorable Dantes Bellegarde as the guest speaker. Acquisitions to the permanent collection of the Li­ brar}' have included a needlecase made by a Negro girl from the Manumission Society School, which was presented to a school teacher upon her grad­ uation in 1862 from the New York African School ; the engraved picture of a soldier reading Lincoln's Proclamation of Emancipation, presented by Charles E. Tuttle of Vermont ; the contribution to Cuban lit­ erature by Negroes; and sixty-five etchings, litho­ graphs and prints by Albert Alexander Smith. The Buffalo Hunt, a painting by Robert S. Duncan- son who, born in 1821 was a well-known Negro artist in Cincinnati, has been loaned to the Library by D. W, Dowling. Mr. Duncanson was a contemporary of Duveneck, Farny, Mosler and others, and exhibited through the assistance of the Duchesses of Suther­ land and Essex at the South Kensington Museum and the Crystal Palace. The copy of Stuart's George Wash­ ington by the late Edwin Augustus Harleston ; and a rare mezzotint by W. Ward of the Chevalier St. George, a famous mulatto fencer and musician of the en

work. Through her energies a painting, The Slave Mother by Eugene Alexander Burkes, Negro artist, was presented to the Oakland Municipal Art Gallery for its permanent collection by the Far-Western In­ terracial Committee. "Negro artists and art students in California for some unknown reason are very shy in giving out in­ formation concerning their activities in the study of art." says Miss Beasley. "There are scattered all over the Western states both men and women, who for the lack of confidence in themselves are not receiving the recognition the)- so richly deserve. This habit is being broken up especially in Oakland by a recog­ nized artist. Sargent Johnson, who is encouraging such art students to study until they have mastered the actual essentials."' Mr. Johnson's sculptures are owned by collectors both here and abroad. Copies of Chester, in terra cotta, were sold in 1931, in New York, California and to the German Minister in Venice, Italy. Artists who Miss Beasley cites in California are Jul­ ian C. Robinson of Pos Angeles who has achieved some success in ornamental modeling and casting tol­ tile building trades and Eleanor E. Paul of Oakland, who has done important work in clay and pottery, posters and magazine illustrations. A grant from the Julius Rosenwald Pund was made to William Edouard Scott of in 1931 which enabled him to spend a year in Haiti portraying Af­ rican types. During his stay on the island he painted 144 pictures, practically all of which were of the poorer classes of the people. Mr Scott found their faces, their dress and their customs to have great val­ ues in the interpretations he wished to make on can­ vas. The complete satisfaction with their station in life and their simplicity lent a color which he could not find in the upper classes. At his exhibition, be­ fore he left in a leading local club. 27 of his paintings IS NEWS HAPPENINGS IN NEGRO ART

were sold oi which twelve were bought by the Presi­ dent of Haiti. His exhibit on the Island was pro­ moted mainly for the purpose of showing native ar­ tists, accustomed only to copying from French mas­ terpieces, that there was rich subject matter at home. Mr. Scott has just completed two murals at the new Y.M.C.A. in Harlem, which depict the body, mind and spirit aims of the organization in ils service. Another large mural has been done by Aaron Doug­ las for the game room. The development of racial art is being promoted through The Primitive African Art Center under Cloyd P. Boykin, the Director, who has a school which opened in the summer of 1932 at the Urban League Building in Harlem. A similar development is being carried on at the Boykin School of Art in the section of New York. Mr. Boykin. a pioneer among Negroes, showing and en­ couraging Negroes in art. is himself a recognized ar­ tist The Primitive African Art Center had its begin­ nings in the Greenwich Village school through Mr. Boykin's desire to oliera convenient place for study, criticism and exhibition of those of his race with ar­ tistic talent. The expansion into Harlem was made possible by the assistance of the Carnegie Corpora­ tion, and in the two centers Negroes of all ages arc given the opportunity of training. Two Negroes have been recently honored by the Whitney Museum oi American Art, which has pur­ chased their work lor its permanent collection. The Blackberry Woman, by Richmond Barthc, a sculpture. and Congolaise, a portrait head in wood by Nancy Eliz­ abeth Prophet were among the 159 acquisitions made by the Museum in 1932. BY-PRODUCTS

Because of the representative character of the 1 bu­ nion Foundation presentations of art productions from the national viewpoint as far as distribution of ar­ tists is concerned, groups in other cities early became interested in having local exhibitions. As a result. therefore, of the numerous inquiries, in 1929 the first travelling exhibit was sent to eleven cities. The plan­ ning and routing was under the direction of the Com­ mission on Race Relations of the federal Council of Churches of Christ in America. While in most instances the showings were spon­ sored by local Race Relations Committees, the dis­ plays generally took place in the city art gallery or museum. In succeeding- years there has been an in­ creasing demand for the exhibits directly from the gallery management. In 1931-32 two travelling exhi- hibitions were administered through the professional visiting- art service of the Art Center. In all, the various exhibits have visited fifty cities in twenty-seven states and the District of Columbia. Prom the reports on attendance it is estimated that a conservative total of the number coming to see the pictures has been in excess of three hundred and fifty thousand people. About forty per cent, of the visitors have been from the Negro group. The experience with these itinerant showings thus far has clearly indicated the growing interest through­ out the country in the creative art work of the Negro. Of more significance still and of considerable encour­ agement to the Foundation in the further development of this art activity is the constantly increasing ac­ quaintance it is making with Negro artists who are taking the initiative in using this medium to bring their art efforts to a wider view and appreciation. A FORECAST

THK jury's action in judging the works, painting, sculp- *- ture, etching and prints submitted to the Harmon Foundation was influenced mainly by the interest and respect now held by all artists for the rhvthm and color sense which the Negro artists of past and present pos­ sess congenitally. The occasional examples in the pres­ ent showing which displayed these essential qualities prompted unanimous acceptance.

In musical composition and poetry, especially the former, the Negro has contributed a poignant mystical note that constitutes our one claim for national expres­ sion of great significance in the Arts; at least so we are told by the musicians of Europe, an opinion with which I am inclined to agree. Because of that agreement it was regrettable to find so few examples in the works submitted that in this sense noted were racial.

American contemporaries for the most part are in­ fluenced by the European Moderns and thus lack the homogenity which the Negro naturally inherits, and out of which springs freely and unaffectedly their ir­ replaceable contribution—the truth of the imagination. All great and lasting art tells something of the ineffable, a graphic expression of spiritual experience.

Technical ability though essential, is lent a mode wherewith we release and communicate the dreams and phantasies that haunt us. If a word of advice is ac­ ceptable I would suggesl the lines of Touchstone, "A poor thing, my Lord, but mine own". I do not mean "Self-Expression" a current term—we need not bother our heads about that, in fact we can't avoid it. The important thing is to have something to express- that the Negro artist has potentially to a degree that is unique. //+«~^n. y<£rt

COXFEKRKI) L.N TILE AWARD IX FlNE AlCIS OF Till-. \\' II. 1.1 AM E. HARMON AWARDS FOR DISTINGUISHED ACHIEVEMENTS AMONG NEGROES, AND THE EXHIBITIONS

AWARD IN FINE ARTS SERIES OF 1926 GOLD AWARD PALMER HAYDEN BRONZE AWARD HALE A. WOODRUFF

AWARD IN FINE ARTS SERIES OF 1927 GOLD AWARD LAURA WHEELER WARING AWARD OF GOLD MEDAI. . . WILLIAM EDOUARD SCOTT BRONZE AWARD JOHN WESLEY HARDRICK INHIBITION

OTTO II. KAHN PRIZE SARGENT JOHNSON

AWARD IN FINE ARTS SERIES OF 1928 GOLD AWARD VRCHIBALD I. MOTLEY, IK. BRONZE AWARD MAY HOWARD JACKSON* EXHIBITION OTTO H. KAHN PRIZE ....

AWARD IN FINE ARTS-SERIES OF 192'J GOLD AWARD WILLIAM H. IOHXSOX BRONZE AWARD ALBERT ALEXANDER SM ITI 1 BRONZI: AWARD SARGENT JOHNSON EXI UBITION OTTO H. KAHN PRIZE .. XANCY ELIZABETH PROPHET AWARD IN EINE ARTS SERIES OF 1930 GOLD AWARD JAMES LESESNE WELLS EXHIBITION OTTO H. KAHN PRIZE LILLIAN A. HORSEY LOCKE PORTRAIT PRIZE EDWIN AUGUSTUS IIARLESTON*

ARTHUR J'>. SPINGARN PRIZE FOR WORK IN BLACK AND WHITE ROBERT SAVON PIOUS THE COMMISSION PRIZE FOR PHOTOGRAPHIC WORK . . . JAA1ES LATIMER ALLEX

*Deceascd. JUDGES l'or i he EXHIBITION IN 19.« WILLIAM ACBRHACH-LEVS ARNOLD GENTHE FREDERICK V. BAKER HOWARD GILES ALON BEMENT [AMES Y. HERRING F.RICK BERRY THEODORE L. HOWELL JUDGES WHO HAVE SERVED PREVIOUSLY in the AWARD IN FINE ARTS OF THE WILLIAM F.. HARMON AWARDS FOR DISTINGUISHED ACHIEVEMENT AMONG NEGROES AND THE EXHIBITIONS AWARD IN FINE ARTS Series of 1926 WILLIAM A. BORING LAURA WHEELER WARING FRANCIS C.JONES GROSVENOR ATTERBURY WI i.ii \M E. 1 [ARMON AWARD IN EINE ARTS Series of 1927 ami the EXHIBITION WILLIAM A. BORING MAY HOWARD JACKSON CHARLES DANA GIIÌSON NI.YSA MORAN MCMEIN WILLIAM K. HARMON ORRIN W. SIMONS KAKI. ILLAVA F. BALLARD WILLIAMS AWARD IN FINE ARTS Series of 1928 and the EXHIBITION WAYMAN ADAMS KARL III \VA CHAKI.ES C. CURRAN ARTHUR LEE EDWARD TILTON

AWARD IN FINE ARTS Series of 1929 ami the EXHIBITION META WARRICK FILLER KARL ILLAVA GEORGE HELI.MAN GEORGE LCK.S \ ICTOR PÉRARD AWARD IN FINE ARTS Series of 1930 ami the EXHIBITION GEORGE GREY BARNARD JAMES V. HERRING ALON BEMENT VVINOLD REISS WALTER M. GRAM- ARTHUR SCHOMBURG HONORS Conferred in the 1933 New York Exhibition of Productions by Negro Artists

ROBERT C. OGOEN PRIZE $150. {Presented by Mrs. Alexander Purees) Most Outstanding Work in Exhibit

SARGENT JOHNSON

PAINTING PRIZE $100. {Presented by Mrs. John D. Rockefeller, Jr.)

PALMER HAYDEN

JOHN HOPE PRIZE IN SCULPTURE $100.

WILLIAM ELLISWORTH ARTIS

ARTHUR A. SCHOMBURG PORTRAIT PRIZE $100. JAMES A. PORTER

ALON BEMENT PORTRAIT PRIZE $75. EARLE WILTON RICHARDSON

GEORGE E. 1IAVNES PRIZE $50. Most Representative Work in Black and White JAMES LESESNE WELLS

COMMISSION ON RACE RELATIONS PRIZE $25. Photographic Work JAMES LATIMER ALLEN ON EXHIBITION

JAMES LATIMER ALLEN 1 A Dancer of the East (Photograph) 2 Mara-Mara ( Photograph) À Richard B. Harrison [Photograph] 4—Still Life {Photo gru phi

CHARLES HENRY ANDERSON ô—Her Evening Prayer

WILLIAM F.I.I.INUORTII ARTIS 6 -Head of a Girl {Sculpture)

GEORGE EDWARD BAILEY 7 --Ships ( Water Color)

HENRY VV. BANNARN 8—Portrait {Sculpture)

RICH MONO tSARTHH 9—Head (Sculpturo 10 Mask of Rose McUendon (Sculpture) 11 Torso (Sculpture)

HUMPHREYS WILLIAM BECKET 12 Hoy's Head

TEODORO RAMOS BLANCO 13—Canción Triste (Sculpture) 14 - Country People {Sculpture) 15- -El Pesi") (Sculpture) 16 El Poeta Rogelio Sinnn (Seulpiarci 17— Cabeza de Negro {Sculpture) 18—Relief Head of Längsten Hughes (Sculpture) 1') The Slave (Sculpture) 20—Sleeping Negro (Sculpture) ON EXHIBITION 25

JAMES BLAND 21—Manning Hall (Lithograph) 11 -On the Hill (Lithograph)

S. ELLIS BLOUNT 23—Fairniount Park, 24—The Model

LESLIE GAR LAM) DOLLING 25—Figure Reclining (Wood Carving) 26--Wash Woman ( Wood Curvili a)

DAVID PATTERSON BOYD 27—The St. Louis Blues ( Water Color)

SAMUEL JOSEPH BROWN 28—Laughing Negress (Water Color) 29 The'Panama'Hat (Water Co'or)

JOSEPH S. CARTER 30—Still Life

WILLIAM ARTHUR COOPER 31 -My Dad 32 — Portrait of Grace 33 A Senous Lady

SAMUEL ALBERT COUNTER 34—Little Brown Boy

ALLAN ROHAN CRITE 35 Sketch l'or Summer's Child ( Pencil Drawing) 36—Young Woman

1 > E \ L FO RD I) EI .A N E Y 37—Minstrel (Pastel) 26 ON EXHIBITION

FRANK J. DILLON 38—Landscape 39—Tulips

ELTON CLAY FAX 40—Sunny Day

META V. WARRICK FULLER 41 -W. Monroe Trotter (Sculpture Relief)

Oris GALBREATH 42—Old Folks at Home

WILLIAM THOMPSON- GOSS 43 -Still Life

CONSTANCE WILLARD GRAYSON 44 Hazel: A Portrait

JOHN WESLEY HARDRICK 45 Aunty

JOHN- TAYLOR HARKIS 46 -Character Study ((Pencil Drawing)

P \LMER HAYDEN 47—Fetiche et Fleurs 48—Theatre Alley, New York

J ESSIE MAY HOUSLEY 49—Bacchanalis (Lithograph )

ANTONIO J. JARVJS 50 -Cha ("lia Peddlers (Wafer Color)

CORNELIUS W. JOHNSON 51—Mv Girl ON EXHIBITION

MALVIN GRAY JOHNSON 52—Blues 53—Jamaica 54—Negro Masks 55—Ruby

SARGENT JOHNSON 56—Defiant (Drawing) 57—Mother and Child (Drawing) 58—Pearl (Sculpture)

WILLIAM H. JOHNSON 59—Jim

ARCHIE JOSEPH JONES 60 -A Bali Virgin

HENRY BOZEMAN JONES 61—Blues 62 -Old Death

Lois MAILOU JONES 63—The Ascent of Ethiopia 64— Menemsha Bv The Sea (Water Color)

BENJAMIN SPURGEON KITCHIN 65—Hunger (Sculpture) 66—Modern Venus {Sculpture)

ROMEVN VAN VLECK LIPPMAN 67—Early Morning—Wharf Scene ( Water Color) 68—Gabriel (Study in Charcoal) 69 -Hunger Marchers (Water Color)

SAMUEL E. MACALPINE 70—Mask "Ce Ce" (Sculpture) ON EXHIBITION

HOWARD HAMILTON MACKEY 71 —Collegiate Spires (Lithograph) 72—English Towers (Crayon) 73 -Quaint Old Normandy (Crayon)

SUSIE MARIBEL MCIVER 74 Wall Hanging (Block Print) 75 Wall Hanging "Pied Piper" (Block Prilli)

KENNETH RODERICK O'NEAL 76 Portrait of a Child

EDGAR EUGENI-; PHIPPS 77—Central Park Lane—Evening (Photograph) 78—Harlem Dancer (Photograph) 79 Ready lor School (Photograph)

ROBERT SAVON PIOUS 80 Portrait of a Singer (Drawing)

JAMES A. PORTER 81 Woman 1 Inkling a | ug

DAN T. REID 82 Portrait of a Woman (Pasted)

DONALD REDVERS REID y7,—Still Life- Fruits and Flowers

FARLI: WILTON RICHARDSON 84 -Portrait Composition 85—Profile of Negro Girl

WILLIAM EDOUARD SCOTT 86—Blind Sister Mary 87—Calabash For Market 88—Haitian Fishermen 89—When the Tide is Out ON EXHIBITION 29

ALBERT ALEXANDER SMITH 90—Chartres, France (Etching) 91—Le Port Honneur (Etching) 92—Market Place, Nice, France 93— Old Man River 94—Selling Pigs, Normandy (Etching) 95—Spanish Road (Etching) 96—Street Scene, Madrid (Etching)

HELEN HENRIETTA SMITH 97—Clothes Lines (Water Color)

TERESSA SIMPSON STAATS 98—Still Life (Flowers) 99 Siili Life (Sunflowers)

WILLIAM HENRY TAYLOR 100--Southern Fruits with Kgyptian Background (Water Color)

Louis OLIVER VAUGHN 101 -Street Scene ( Water Color)

JAMES LESESNE WKLI.S 1(12 The [-'.scape of the Spies From Canaan (Wood Block) 103—The Good Samaritan (Wood Block)

ELLIS WILSON 104—Still Life

HALE A. WOODRUFF 105—Atlanta Landscape 106—Still Life 107—View of Atlanta ü DEFIANT Sargent Johnson Recipient of the Ogden Prize off j.;o. '/. à \ RELIEF HEAP or LANGSTON HUGHES Tin- SLAVE Teodoro Ramos Blanco Teodoro Ramos lilau^

CANCION TlUSTE OoL'NTRY Pi OI'LE Teodoro Ramos Blanco Teodoro Ramos Blanco ESCAPE OF THE SPIES FROM CANAAN fames Lesesne Wells Recipient of ike Ceor^e E. liuynes Prize for Work in Iliad; mot White

\?l>

.''.,.

OLII DEATH Henry Bosreman Jones OLD FOI KS AT HOME Otis G.ilbreatli •' „SV

HAITIAN FISHERMEN William Edouard Sont

Ellis Wilson STILL LIFE

Albert Alexander Smith SPANISH ROAD

in. (*,« - A BALI VIRGIN Archie Joseph Jona. William H. Johnson ATLANI A LAM SCAPE Hale A. Woodruff

HAÏEL: A POR IRAI r AL-NTY Consiance Willard Grayson John Wesley Hardric\ Samuel Alberi Countee LITTLE BROWN BOY HEAD Richmond Barthé Henr\' W. Ritmarli

PORTRAIT OF A SINGER Mdli'iii Gray Johnson Robert Savon Pious BRIEF SKETCHES OF NEGRO ARTISTS WHOSE WORKS HAVE BEEN SHOWN IN HARMON FOUNDATION EXHIBITIONS

JAMES LATIMER ALLEN, New York—Born 1907 in New York; educated De Witt Clinton High School. Apprentice for four years in commercial art and photography. Works independently and has photographed many leading Negroes. Exhibited at Carnegie Instititute, Pittsburgh, and Rotherham Salon, London. Received Commission Prize of $50 in Harmon Exhibit 1931. Work shown in Harmon Exhibits 1929; 1931; 1933. FREDERICK CORNELIUS ALSTON, St. Louis Educated at Shaw University and School of Industrial Art. Has taught drawing in a St. Louis high school. Won first prize at an exhibition of Negro painters in St. Louis in 1930. Work shown in Harmon Exhibits 1929; 1930;1931. CHARLES HENRY ANDERSON, New York- Born 1882 in ; had a public school education and has been working as an elevator operator for several years. Work shown in Harmon Exhibit of 1933. HORACE G. ANDERSON, Washington, D.C.—Educated at Howard University and studied drafting at Armour Institute. Entered business in 1917 after teaching several years. Work shown in Harmon Exhibit 1930. WILLIAM ELLISWORTH ARTIS, New York—Born 1914 in ; educated Haaren High School where he took art work. Now- studying under Augusta Savage, Negro sculptress. No previous exhibits. Work shown in Harmon Exhibit 1933. GEORGE EDWARD BAILEY, New Jersey—Born in Philadelphia. Attended grammar and high school. Has had no art training. Won a first prize for city and county in a W.C.T.U. contest about four years ago with a picture about "Cigarettes". No previous exhibits. Work shown in Harmon Exhibit 1933. HENRY W. BANNARN. Minneapolis—Born 1910 in Oklahoma. Educated Minneapolis public schools. Studied at Minneapolis School of Art. Has done dining car and valet service. For past three years has taught a sketching class at Phyllis Wheatley House in Minneapolis. First Negro to exhibit in fine arts galleries of Minnesota State Fair. Also exhibited at Carnegie Institute in 1929; Western Art Association; and Pennsylvania Academy. Work shown in Harmon Exhibit 1933. RICHMOND BARTHÉ, .New York-Born 1901 in Mississippi. Grade school education and four years at Art Institute of Chicago. Also one year at Art Students League, New York. Of Negro, French and Indian extraction. Has worked as butler, porter, designer and bus boy. Began study of painting in 1924 through interest of Catholic priest. One man shows at Women's City Club. Chicago; Rankin Gallery, Washington; University of Wisconsin; Grand Rapids, Mich. Art Galleries; Caz-Delbo Galleries, New York. Devotes himself to sculpture ot the Negro. Has sold Blackberry Woman to the Whitney Museum in New York; Denied 42 BRIEF SKETCHES OF NEGRO ARTISTS

Crab Man to University of Wisconsin; Paul L. Dunbar and Booker T.Washing- ton busts to Armstrong High School, Richmond, Vi.; Toussaint L'Ouverture and Hear Ü. Tanner to Lake County Children's Home, Gary, 111. Work shown in Harmon Exhibits 1929;1931;I933. HUMPHREYS WILLIAM BECKET, Providence - Born 1S94 in Providence. Grade school education and three years' Saturday attendance at R. 1. School of Design. Works as painter and interior decorator and has done murals in churches and homes. No previous exhibits. Work shown in Harmon Exhibit 1933. LOUIS A. S. BELLINGER, Pittsburgh—Born 1891 in South Carolina; received education at Howard University, took special training in construc­ tion and design at Carnegie Institute of Technology. Following several years of teaching, he turned to architecture. Work shown in Harmon Exhibit of 1928. TEODORO RAMOS BLANCO. Havana, Cuba—Born 1931 in Cuba; attended public school to the sixth grade. Studied art in the Professional School of Painting and Sculpture. "San Alejandro" in Cuba, and later in Rome Italy. Formerly a policeman he has worked in spare time in art. Won three prizes during his art study in Cuba. Exhibited in Havana at the Circulo de Bellas Artes and Club Atenas; and in Rome in the Latin- American exhibition of artists and students in Italy at Palace Très Venen,is, 1930; and the Casa de Espana 1930. His statue Mother of the Maceos won a first prize m competition with nine artists; his monument The Invading Soldier won a third prize and diploma in the national competition in Havana in 1932; and The Slave was awarded the gold medal at the exposition in Seville in 1929 No previous exhibits in this country Work shown in Harmon Exhibit 1933. JAMES BLAND. Providence Born 1909 in Providence; studied at Com­ mercial School in Providence and at R. I. School of Design, where lie is now a senior student. No previous exhibits. Work shown m Harmon Exhibit 1933. S. ELLIS BLOUNT, Brooklyn—Studied nights at City College, Pratt In­ stitute and the National Academy; worked days as a stenographer in the Department of Correction in New York and as a free-lance cartoonist. Work shown in Harmon Exhibits 192S;I029;1930;1931;1933. LESLIE GARLAND BOLLINO Richmond - Born 1898 in Virginia; studied at Hampton Institute, Wayland Academy and one year at Virginia Union University. Has had no formal training in art. Executes sculptures with pocket knife. Works as a porter. Carl VanVechten showed some of his productions privately; also exhibited at the Richmond Academy of Arts and in Art Shop in Richmond. Has sold to individuals The Market Woman and Head of a Woman. Work shown in Harmon Exhibit 1933.

DAVID PATTERSON BOYD, St. Louis -Born 1913 in St. Louis; educated in public school. Has had no formal training in art. Works as an elevator boy. Exhibited at the St. Louis Public Library for past four years. Won a second prize at Negro exhibit of Urban League in St. Louis. Work shown in Harmon Exhibit 1933. BRIEF SKETCHES OF NEGRO ARTISTS 43

CLOYD L. BOYKIN, New York -Born in Hampton in 1877- An artist by occupation and owner of an arts and crafts shop. Work shown in Harmon Exhibit of 1931.

EDWARD JOSCELYN BRANDFORD, New York—Born 1905 in Jamaica. B. W. I., and came here in 1924. Worked in a lampshade factory and financed his study at the Barile School and Cooper Union as elevator operator. Had a one man show at 135th Street Branch of New York Public Library. Work shown in Harmon Exhibit of 1931.

WILLIAM ERNEST BRAXTON. New York—Born 1878 m Washington; studied painting at Adelphi College. Has held various positions as office boy, valet and in pullman service. Work shown in Harmon Exhibits of 192S, 1929. DAISY CHAPMAN BROOKS, Brooklyn-Bom in Virginia and studied at Hampton. Later attended Pratt Institute, Brooklyn. Work shown in Harmon Exhibit 1930. MABEL RANDOLPH BROOKS, New Haven - Born in . 1899; a student of Radcliffe and studied mural painting m the Yale School of Fine Arts. Art teacher and designer of tapestries. Exhibited in Harmon Exhibit of 1930. SAMUEL JOSEPH BROWN, Philadelphia-Born 1907 in North Carolina; educated in public schools, with one year at University of Pennsylvania. Studied art education for public schools at Pennsylvania Museum of Art. Has his own sign painting business. Exhibited at Pennsylvania Museum of Art 1928; 1930; Y.M.C.A., Y.W.C.A., Philadelphia. Work shown in Harmon Exhibit of 1933.

EUGENE ALEXANDER BURKES, Newark, N. J—Born 1880 in Virginia, both parents ex-slaves. Studied at the Newark School ol Fine and Applied Arts. Is a music teacher and composer. His painting Slare Mother purchased by Far-Western Interracial Committee and presented to Oakland, Cai. Art Gallery in 1932. Work shown in Harmon Exhibit 1931.

E. SIMS CAMPBELL, St. Louis -Born there in 1906;studied at Chicago Art Institute where he took many prizes. Works as commercial artist and has exhibited at Minneapolis in 1924 and 1925 taking prizes at both. Won first prize of Post-Dispatch Black and White contest in 1928. Work shown in Harmon Exhibit of 1929. JOSEPH S. CARTER, New York -President of the Sanka Art Guild, a group of commercial artists and students. Work shown in Harmon Exhibit of 1933. GERALDINE CHARLES, Pasadena—Work in applied arts shown in Harmon Exhibit, 1928. WILLIAM ARTHUR COOPER, Charlotte, N. C.~ Born 1895 in North Carolina; educated in church school and North Carolina Theological College. Is an A.M.E. Zion minister and only art study has been six lessons, recently. Exhibited at Howard University 1932; Shaw University; North Carolina 44 »RIEF SKETCHES OF NEGRO ARTISTS

College; Bennett College; Southern Pines, N. C, and Pinehurst, N. C. 1932 and 1933. Received Honorable Mention foi Vanishing Washer Woman in Harmon Exhibit of 1931. Work shown in Harmon Exhibit 1931; 1933.

SAMUEL ALBERT COUNTEE, Texas-Born 1909 in Texas; educated public schools and is now a self-help student in Bishop College. Has studied art in six month's course, but has done most of work without art instruction. Exhibited at Howard University in 1933. Work shown in Harmon Exhibit 1933.

ALLAN ROHAN CRITE, Boston -Born 1910 in New Jersey; educated Boston Latin and English High School. Studied art at Boston Museum School of Fine Arts. School of Art and Children's Art Center. Has had sketches in The Art of Seeing; The Forum: Opportunity and the Bostov Globe. Exhibited with Boston Society of Independent Artists, 1929-1932; Home Study Class. Boston, 1926; Jordan Marsh; Fraternity Art Exhibit, 1932. Work shown in Harmon Exhibits 1930; 1931; 1933. CHARLES C. DAWSON. Chicago—Born m 1889 in Georgia. Educated at Tuskegee and took art training at Art Students' League in New York and Chicago Art Institute. Has worked as a staff artist on newspaper and as free lance painter and illustrator. Won prizes at various exhibitions. Work exhibited in Harmon Exhibit, 1929.

BEAUFORD DeLANEY, New York -Born 1905 in Tennessee; educated in public schools, and studied art at Massachusetts Normal Art, South Boston School of Art, and Copley Society. Works as telephone operator at Whitney Museum. Exhibited at Whitney Galleries in 1930; 135th Street Branch of N. Y. Public Library, 1930; 42nd Street Branch of N. Y. Public Library. 1932; Cooperative Art Market and Roxy Theatre, 1933. Work shown in Harmon Exhibit of 1933.

ARTHUR DIGGS, Chicago—Born 1888 in Missouri where he received his elementary education. Studied at the Chicago Art Institute. Has worked in the Reinhardt Galleries; and as a painter of screens and frames. Exhibited at Chicago Art League; Art Institute of Chicago; and with three Negro artists at Roosevelt High School Gary, Ind., which owns two of his paintings. Work shown in Harmon Exhibits of 1929; 1930.

FRANK 1. DILLON, New Jersey—Born 1866 in New Jersey. Studied at Oberlin College and at Att Students League in New York. Employed as art glass designer. Designed the window St. Simon in the chapel at St. Augus­ tine College in Raleigh, N. C. Received Honorable Mention in Harmon Exhibit of 1929. Work shown in Harmon Exhibits 1929; 1933.

LILLIAN A. DORSEY, Connecticut—Born 1912 m Philadelphia; graduate of high school ; studied art under Maurice Sterne. Plans to specialize in Negro portraiture. Received Otto H. Kahn Prize of $250 in Harmon Exhibit of 1931. Exhibited with Darien iConn.) Guild, 1931; Burdick High School, Education Week, Stamford, Conn., 1931. Work shown in Harmon Exhibit 1931.

AARON DOUGLAS. New York -Born m Topeka in 1898; graduate of the University of Nebraska. Has taught art in high school at Kansas City. BRIEF SKETCHES OF NEGRO ARTISTS 45

Studied art in New York at night while working as shipping clerk. Contri­ buted drawings and designs to several magazines. Work shown in Harmon Exhibit of 1928. FERDINAND W. ELLINGTON, Mt. Vernon—Born in Jamaica, B. W. I. in 1894; studied in the National Academy of Design while working as elevator operator at night. Is now a commercial artist and designer. Work shown in Harmon Exhibit of 1929. H. FONTAINE, Work of artist done at age of 16, shown in Harmon Exhibit, 1928. WILLIAM McKNIGHT FARROW, Chicago—Born 1885 in Ohio; studied 8 years at Art Institute of Chicago. Is a member of Museum staff at the Art Institute; teaches at Evening High School. Has been Assistant to Curator of Temporary Exhibitions; and later in charge of printing shop of Institute. Also reinstalled Egyptian collection, and is now in charge of labels on paint­ ings and sculpture. Received First Honors in Figure and Still Life, Lincoln Exposition, 1915; Eames MacVeagh Prize for Etching, Chicago Art League. 1928; Charles S. Paterson Prize, 1929. Exhibited at Lincoln Exposition 1915; International Water Color, and International Etching at Art Institute; N. Y. Public Library, 1924; and Chicago Art League Annual Exhibitions; as well as in many leading cities. Work shown in Harmon Exhibits 1928; 1930; 1931. ELTON CLAY FAX, —Born 1909 in Baltimore; studied fine arts at Syracuse Llmversity, receiving degree. Awarded gold medal in Women's Civic League. Contest in Baltimore, 1932. Exhibited at Syracuse University 1930, 1931; private showing at Afro-American Building, Baltimore, 1932; and Baltimore Y.M.C.A. 1932. Work shown in Harmon Exhibit 1933. ALLAN FREELON, Philadelphia—A graduate of University of Pennsyl' vania; and held a scholarship for four years at the Pennsylvania Museum School of Art. The only Negro to be employed as an Assistant Director of Art in the Public Schools of Philadelphia. Has lectured at Bryn Mawr. Swarthmore and other colleges on achievements of the Negro in art. The first Negro to be admitted to the Gloucester Society of Artists, and the North Shore Arts Association. Work shown m Harmon Exhibits 1928; 19?9; 1930; 1931. META WARRiCK FULLER, Massachusetts-Born and educated in Philadelphia. Studied art in and her work seen and approved by Rodin. Has been a member of the faculty of the U ellesley Summer School of Relkious DraiTa. and identified v ith civic and cultural activities in Bosfn. One of het sculptures in the 135th Street Branch of the N. Y. Public Library and another in the Atlanta Y. M. C. A. Served in the past as a judge in the Harmon Fine Arts Award. Work shown in Harmon Exhibits 1931; 1933. OTIS GALBREATH, Iowa - Born 1898 in Missouri; attended public school to the sixth grade. Has had no art education. Employed as a chauffeur and paints in spare time. Work shown m Harmon Exhibit 1933. KING DANIEL GANAWAY, Chicago—Born in Kentucky. Interprets industrial life in photography. His Spirit of Transportaticnì. a study of the 46 BRIEF SKETCHES OF NEGRO ARTISTS

20th Century Limited, received a Wanamaker Prize. Has been a porter and staff photographer on Chicago papers. Work shown in Harmon Exhibits 1930; 1931.

WILLIAM THOMPSON GOSS, Detroit—Born 1894 in Kentucky; educated at Haines Institute in Augusta. He has had no formal art education, but studied six months in France. Works as a commercial artist and letterer. Exhibited with the Society of Independent Artists, 1932; Gordon Galleries, Detroit; Michigan State Fair, 1932 and Annual Exhibition of Michigan Artists, 1933. Work shown in Harmon Exhibits 1931; 1933.

WILLIAM EMMETT GRANT, Michigan—Studied at Art Institute in Chicago and later in Paris. Paints in spare time from his job as a shipping clerk doing portraits and posters. Has done a mural for St. Philips Church at Grand Rapids. Work shown in Harmon Exhibits 1929; 1930; 1931.

RUTH GRAY, New York City—Born in Jamaica, B. W. L m 1896; art work in textile painting shown at Harmon Exhibit 1929.

CONSTANCE WILLARD GRAYSON, New York—Born 1909 in New Rochelle; spent one year at Hunter College. No previous exhibits. Work shown in Harmon Exhibit 1933. JOHN T. HAILSTALK, New York—Born in 1894 in Virginia. Has had no art education. Influenced by seeing modern canvases to depict memories of his birthplace and the resulting painting aroused much comment at opening of art gallery. Occupation is elevator operator. Work shown in Harmon Exhibit, 1929.

JOHN WESLEY HARDRICK, Indianapolis- Born 1891 in Indianapolis; studied at Herron Art Institute while supporting his family driving a truck. Several of his pictures have been purchased by galleries and schools. Received Harmon Bronze Award in Fine Arts in 1927. Work shown in Harmon Exhibits 1928; 1929; 1930; 1931; 1933.

EDWIN AUGUSTUS HARLESTON (deceased)—A Charleston, S. C. artist, especially known for portraiture. Studied at Harvard, where he went after athletic triumphs at Atlanta. Spent seven years at the School of the Museum of Fine Arts in Boston. Earned his living first as a steamboat captain and later as an undertaker. His Pierre Dupont portrait won the Amy E. Spingarn prize given by magazine. Was associated with Aaron Douglas in executing the murals at Fisk University Library. Died Spring of 1931. Work shown in Harmon Exhibit 1931.

JOHN TAYLOR HARRIS, Philadelphia—Born 1908 in Philadelphia; educated in public schools and studied at School of Industrial Art, where he had scholarship. Now works as portrait artist. Exhibited as a student in the Lea Contest Exhibit, 1931; student exhibits of Industrial Art School 1928-1932; Citizens Republican Club, 1931; Y.W.C.A., Philadelphia, 1932- 1933; Whittier Centre, Philadelphia, 1932. Work shown in Harmon Exhibit 1933. BRIEF SKETCHES OF NEGRO ARTISTS 47

PALMER HAYDEN, New York—Born in Virginia; educated public schools. Following a service in the army, he worked as postal clerk, and later engaged in window-washing in New York so as to have more time for painting. Spent five years in France studying and painting. Fxhibited with lndenende-'t Artists in New York and at Colonial Exposition, Paris; also 1933 at Cooper­ ative Art Market. Received Harmon Gold Award in Fine Arts, 1926. Work shown in Harmon Exhibits 1928;1929;1930;1931;1933. CLIFTON THOMPSON HILL, New York—Born 1902 Virginia; studied commercial and mechanical drawing in spare time from such jobs as barber, factory employee and elevator operator. Has worked at Cooper Union and in studio of Winold Reiss. Work shown in Harmon Exhibits 1928; 1929;1930. JESSIE MAY HOUSLEY. Chicago—Born in St. Louis in 1908. Educated at Sumner Teachers' College and now studying at Chicago Art Institute. Has earned her living as teacher, fashion illustrator and commercial artist. Work exhibited at Art Alliance of St. Louis, 1929, where she won prize for best black and white, Blatk and White Exhibit 1930; and Art Student League, 1931. Work shown in Harmon Exhibits of 1929, 1933. MAY HOWARD JACKSON, (deceased)—Born in Philadelphia m 1877- Studied on scholarship in Pennsylvania Academy. Work in sculpture was exhibited at Corcoran Art Gallery, Washington; National Academy of Design, New York; and Emancipation Exhibition, New York. Work shown in Harmon Exhibit, 1929. ANTONIO J. J AR VIS, Virgin Islands—Born there m 1901. Had a general education and two months training in freehand drawing in New York. Is now a teacher in the public schools. Exhibited in Opportunity Contest, 1927 and won a prize. Work shown in Harmon Exhibit, 1933. DONZLEIGH HENDRICKS JEFFERSON, Nashville -Born in Nashville, 1912. Studied at Fisk University. Received prizes for painting and clay models exhibited at State Fair and excited much comment as a child artist. Work shown in Harmon Exhibit, 1928. CORNELIUS W. JOHNSON, Chicago—Born 1905 in Texas; educated in St. Paul where he attended Mechanical Arts High School. Spent three years at Art Institute of Chicago and few months at Art Students League in New York. Works at poster art and display advertising. Exhibited at Regal Theatre Lobby, Chicago, 1931; South Center Department Store, Chicago 1932; Open Art Exhibition, Chicago, 1932 where nearly 100 portrait sketches were drawn and sold. Work shown in Harmon Exhibit 1933. GEORGE H. BEN JOHNSON, Richmond—Born 1888 in Richmond; educated at Hampton; now studying painting under Columbia University home study. Works as a mail carrier. Exhibited in Richmond Public Library Book Plate Contest 1926;Y.M.C A. Indianapolis 1930. His Atheotes, Ethiopian Writer, 2122 B.C. was sold in 1929 to the J.B. Speed Memorial Museum, louisville, Ky. Work shown in Harmon Exhibit 1929. GERTRUDE JOHNSON, Connecticut—Born Connecticut in 1911; attended Greenwich High Srhool. Work shown in Harmon Exhibit 1930. 48 BRIEF SKETCHES OF NEGRO ARTISTS

GLADYS L. JOHNSON, Chicago. Exhibited textile drawings in Harmon Exhibit, 1928. MALVIN GRAY JOHNSON. New York—Born 1896 in North Carolina studied at the National Academy of Design. Earns his living at commercia art and by his painting. Prefers Negro subject matter in his work. Has done several Spirituals in oils. Exhibited at Anderson Galleries, 1931; Washington Square Outdoor Exhibit, 1932; Jumble Shop, 1932; and Cooper­ ative Art Market. 1933. His AJegress was purchased by the Whitney Museum. Received Otto H. Kahn Prize of $250 in Harmon Exhibit of 1929. Work shown in Harmon Exhibits 1928;1929;1930;1931;1933.

SARGENT JOHNSON. California -Born 1888 in Boston; studied art and works in several mediums. Is mainly known tor his sculptures. His Ester purchased by San Diego Fine Arts Gallery. Sammy a head in terra cotta sold to Mrs. E. R. Alexander in Harlem. Several copies of Chester, also terra cotta, sold including one to German Minister in Italy. Exhibited with San Francisco Art Association 1925;1926;1927;1928;1929;1930;1931; at San Diego Fine Arts Gallery, 1930; Art Institute of Chicaao. 1930. Received medals from San Francisco Art Association 1925 and 1931. Received Otto H. Kahn Prize of $250 in Harmon Exhibit of 1928; Harmon Bronze Award in Fine Arts in 1929. Work shown in Harmon Exhibits I92S;1929;1930;1931:1933.

WILLIAM H. JOHNSON, Denmark -Born 1902 in South Carolina. Educated in grade schools in South Carolina and in France. Studied at the National Academy of Design and Cape Cod School of Art. In France from 1926 to 1929; in Denmark from 1930 to the present time. Won the Cannon and Hall Garten prizes as a student at the National Academy. Received the Harmon Gold Award in Fine Arts in 1929. Work shown in Harmon Exhibits 1930;1931;I933.

CELESTINE GUSTAVA JOHNSTON, Boston-Born 1911 in Pittsburgh; studied in art department at Boston University where she won many prizes. Spent summers as instructor of art at Episcopal City Mission in Boston. Work shown in Harmon Exhibit 1930.

ARCHIE JOSEPH JONES Work shown in Harmon Exhibit, 1933.

HENRY BOZEMAN JONES Philadelphia-Born 1889 in Philadelphia; studied at Philadelphia School of Pedagogy and on scholarship at the Penn­ sylvania Academy of Fine Arts. Farns hi" living at both wiring and painvVig. Exhibited in Philadelphia at the Rumph Gallery, 1928; Public Schools, 1928; Warwick Galleries, 1930, 1931, 1932; Print Club, 1932; Y.W.C.A.. 1929; Sketch Club, 1932; also in St. Louis 1931. Work shown in Harmon Exhibits 1929; 1930; 1931; 1933.

LOIS MAILOU JONES, Washington, D. C—Born 1905 in Boston; studied High School of Practical Arts and Boston School of the Museum of Fine Arts; Designers Art School; Massachusetts Normal Art; and Harvard Summer School. Is an instructor in Design at Howard University. Exhibited with Boston League of Neighbors, 1927; New Bedford Public Library, 1929; BRIEF SKETCHES OF NEGRO ARTISTS 4Q

A. 6? T. College, 1930; Virginia State College, 1930; Corcoran Gallery. Washington Water Color Club 1931; Howard University, 1932. Received Honorable Mention in Harmon Exhibit 1931. Work shown in Harmon Exhibits 1930; 1931; 1933. VIVIAN SCHUYLER KEY. New York Born 1906; graduated from Pratt Institute in 1926. Worked as assistant director at Lincoln Settlement House, Brooklyn, and has worked at Glen Cove Settlement House on Long Island. Has designed several covers for the Crisis magazine; won Amy E. Spingarn Prize in 1927. Work shown in Harmon Exhibits 1930; 1931. BENJAMIN SPURGEON K1TCH1N, New York—Born in Jamaica, B. W. 1.; worked there as a marble cutter. One of his paintings may be seen in the Church of the Redeemer at Kingston, B. W. I. Has been employed in the B. M. T. shops in Brooklyn and designed many of their safety slogans and placards. Work shown in Harmon Exhibits 1931; 1933. ANZOLA D. LAIRD, Missouri —Born in Tennessee; studied at University of Chicago and Michigan State Normal College. Has been a grade school teacher in St. Louis. Received recognition in 1929 when exhibiting with a group of Negro artists at the St. Louis Public Library. Work shown in Harmon Exhibit 193Ì. RICHARD WILLIAM LINDSEY, New York Born 1904 in North Caro­ lina; studied evenings at the National Academy of Design. Works as a waiter and part-time postal clerk. Received Art Association Prize, Art Institute, Indianapolis in 1924. Work shown in Harmon Exhibits 1928; 1929; 1931. ROMEYN VAN VLECK LIPPMAN, Boston -First showing of work with Harmon Exhibit, 1933. SAMUEL E. MacALPINE, Chicago Born 1892 in ; graduated Morris 1918. Has had no formal art training. Works as a mat cutter and carver on picture frames. Member of the Chicago Art League. Work shown in Harmon Exhibits 192S; 1933. HOWARD HAMILTON MACKEY, Washington, D. C. -Born 1901 in Philadelphia; studied at University of Pennsylvania School of Fine Arts, and Department of Architecture. Is an instructor of architecture. Exhibited at Art Institute of Chicago 1930; Corcoran Art Gallery, Washington Water Color Club, 1931; Howard University, one man exhibit, 1929. Work shown in Harmon Exhibit 1933. H. EDWARD MARSHALL, New Jersey- Born 1899 in Charleston; ob­ tained a degree in pharmacy at Clinton College, and in dentistry from Me- harry. Practiced dentistry m Charleston until 1928 when he moved North. Has had no formal art training. Work shown in Harmon Exhibit 1930. EFFIE MASON, New York-Sculptress whose work was shown in the Harmon Exhibit. 1928. EDWARD T. McDOWELL, New York -Born in British West Indies in 18S3. Has had only one year's training in art. Worked in real estate and insurance. Submitted several pieces in sculpture for Harmon Exhibit, 1929. 50 BRIEF SKETCHES OF NEGRO ARTISTS

SUSIE MARIBEL McIVER, New York—Born 1906 in North Carolina; now a student at Columbia University. Received from Cooper Union silver medal for year's work, 1930; first prize and bronze medal for flower painting, 1931; silver medal, 1932. Exhibited at Cooper Union 1930, 1931, 1932; Columbus Hill Community Center, New York, 1932. Work shown in Harmon Exhibit 1933.

C. G. McKENZIE, New Orleans—Submitted textile art work for Harmon Exhibit, 1928.

ELENOR McLAREN, Cincinnati—Born in Ohio in 1906. Educated at University of Cincinnati, took art work in Art Academy of Cincinnati. Teacher of art and English in high school and works with crafts or drawings. Work shown in Harmon Exhibit, 1928.

ARCHIBALD J. MOTLEY, Jr.. Chicago—Born in New Orleans; studied art at the Art Institute of Chicago and abroad. Has earned his living as day laborer while studying art. His Uncle Ben won the Guggenheim award. Practically all paintings exhibited at a one man show in the New Galleries in 1928 were sold to collectors. This was the first one man show to be held by a Negro since that of Tanner. Has also exhibited at the Art Institute; with the American-Scandinavian Foundation in Stockholm where he won the Eisendrath prize; and at the Chicago Woman's Club. Received Harmon Gold Award in Fine Arts, 1928. Work shown ih Harmon Exhibits 1929; 1931.

RICHARD BRUCE NUGENT, New York—Born in Washington where he received his education. Has done illustrations for The ?\eio Afegro, Ebony, and Topaz;, and achieved some recognition as a writer and actor. Work shown in Harmon Exhibit 1931.

ALLISON OGELSBY, Detroit—Born 1905 in Atlanta; attended the Detroit School of Fine Arts. Works as a postal clerk. Exhibited at the Michigan State Fair 1928, 1932; Pen and Palette, Detroit, 1929, 1930, 1931, 1932. Work shown in Harmon Exhibits 1930; 1931.

KENNETH RODERICK O'NEAL, Iowa—Born 1908 in Missouri; majored in art at University of Iowa where he graduated. Exhibited at Iowa Me­ morial Union, Iowa City, 1929, 1930. Work shown in Harmon Exhibit 1933..

MAUDE IRWIN OWENS, Pennsylvania—Born 1900; educated in Phila delphia; studied drawing at the Graphic Sketch Club. Fias had two illustra tions published in The Crisis and has a fresco in local Polish Catholic Church Work shown in Harmon Exhibits 1929; 1930.

JOHN PHILLIPIS, Charleston—Born in Canada, 1892. Had special training in music and worked as professional drummer in jazz band. Does painting on glass. Work shown in Harmon Exhibit, 1928.

EDGAR EUGENE PHIPPS, New York—Born 1887 in Kingston, B. W. 1.; attended military academy there. Worked as a news stenographer three years and photographer 24 years. Work shown in Harmon Exhibit 1933. BRIFl- SKETCHES OF NEGRO ARTISTS 5 1

PHILIP LEO PIERRE, New York Born in Trinidad where he received his education in the government schools. He is an engineer. Work shown in Harmon Exhibit 1931. ROBERT SAVON PIOUS, New York—Born 1908 in Mississippi; attended the Art Institute of Chicago, and had scholarship in National Academy of Design in 1931. Was artist on Bronzeman Magazine; and has done covers for Opportunity. Exhibited with Primitive African Art group at the Urban League in 1932; and at Harlem Business Men's League. Received Spingarn Prize of $50 in Harmon Exhibit 1931. Work shown in Harmon Exhibits 1930; 1931; 1933. JAMES A. PORTER, Washington, D. C—Born 1905 in Baltimore; gradu­ ated Howard University; studied art at Columbia University and Art Students League in New York. Is a teacher of art at Howard. Paintings purchased by Howard University and for Hampton Institute. Exhibited with the American Water Color Society; Detroit Museum of Fine Arts; Pennsylvania Academy of Fine Arts; Philadelphia Water Color Society; Montclair Women's Club; Howard University. Work shown in Harmon Exhibits 1928; 1929; 1930; 1933. NANCY ELIZABETH PROPHET, France—Born in ; graduated from the Rhode Island School of Design and studied at L'Ecole des Beaux Arts en Paris. She is a member of Le Salon d'Automne and Le Salon des Artistes Fraficais-, Has lived and worked at sculpture in Paris for past seven years, her Congolaise in wood was purchased by the Whitney Museum. Work shown in Harmon Exhibits 1930;1931. DAN TERRY REID, Washington, D. C. —While still a student at Howard, his work was exhibited in local shows. Studied one summer at the Wicker School of Fine Arts in Detroit and plans to continue his art education at the Art Institute in Chicago. Work shown in Harmon Exhibits 1931; 1933. DONALD REDVERS REID, New York—Born 1902 in British Guiana; studied at Art Students League, also under private instruction. Has exhibited at 135th Street Branch of the New York Public Library; Art Students League. Work shown in Harmon Exhibits 1931; 1933. D. RICHARD REID, New York—Studied at the Pennsylvania Academy of Fine Arts. Has painted portraits of several well-known persons. Exhibited with the Independent Artists and at the Urban League in New York. Work shown in Harmon Exhibit 1928; 1929; 1931. EARLE WILTON RICHARDSON, New York—Born 1913 in New York; studied at National Academy of Design. Has won prizes in the Wanamaker contests and in poster contests at the Academy. Exhibited with Primitive African Art group at the Urban League in 1932. Work shown in Harmon Exhibit 1933. CHARLES ARAL ROBINSON, Cleveland—Born 1905 in Pennsylvania; educated in New York, Canada and Buffalo. Had no formal training in art. A commercial artist in Cleveland since 1927- Work shown in Harmon Exhibits 1928; 1929; 1930. 52 BRIEF SKETCHES OF NEGRO ARTISTS

HILYARI) ROBERT ROBINSON, New York Born in Washington, 1899. Educated at University of Pennsylvania and Columbia University. Art training in Pennsylvania Museum of Industrial Arts. Has worked up from positions of draftsman, consultant on design, to head of department of archi­ tecture in Howard University. Work shown in Harmon Exhibit, 1928.

J. H. D. ROBINSON, New York- Studied srare time at the Brooklyn Art School and the Art Students League. Exhibited at the 135th Street Branch of the N. Y. Public Librare. Wore shown in Har>n-jo Exhibit 1931. WINFRED JONATHAN RUSSELL, New York-Born in Virginia, studied art at Boston Museum of Fine Art and has done many magazine and news­ paper illustrations. Has exhibited in the Independents' Exhibit, New Art Circle and 135th Street Public Library. Work shown in Harmon Exhibit, 1928.

AUGUSTA SAVAGE, New York - Born in ; studied at Cooper Union and in Paris. Received a scholarship from the Julius Rosenwald lurid for two years' study abroad. Works mainly in sculpture. Work shown in Harmon Exhibits 1928; 1930; 1931.

WILLIAM EDOUARD SCOTT, Chicago-Studied at the Art Institute of Chicago and with Tanner in France where he attended the Julian Academy. Previously won the Magnus Brand Prize twice while a student in the Art Institute. Received a grant from the Julius Rosenwald Fund in 1931 for a year's painting of Negro types in Haiti. Exhibited at the Salon des Beaux Arts in France. His murals and portraits in many public buildings. Work shown in Harmon Exhibits 1928; 1931; 1933.

ALBERT ALEXANDER SMITH, France Born 1896 in New York; studied at Ethical Culture and the National Academy of Design. Employed as a musician in Paris and paints in spare time. Served in war as member of Pioneer's Band. Received Amy E. Spingarn prize in a contest sponsored by The Crisis: the Suydam medal in 1916 and the Chaloner prize and Tanner ( lold Medal in the same year as a student at the Academy. Exhibited at the Ethical Culture School, 1928; one man show 135th Street Branch of the New York Public Library; Veterans Exhibition, 1932, Paris. Work shown in Harmon Exhibits 192S; 1929; 1930; 1931; 1933.

HELEN HENRIETTA SMITH. Massachusetts Born m Boston and fol­ lowing a general education studied at the Massachusetts School of Art. Besides teaching in evening schools and giving private classes she has done tree lance work for stores and newspapers. Paintings shown at League of Neighbors' Bazaar. Work shown in Harmon Exhibits 1928, 1933.

WALTER W. SMITH, Jr.. Pennsylvania -Born in Pennsylvania; attended Carnegie Institute of Technology; studied art in a private studio and has worked as designer and free lance commercial artist. Exhibited at Academy of Buffalo Fine Arts; at St. Louis and the Corcoran Gallery; also with Inde­ pendent Artists in New York. Work shown in Harmon Exhibit 1930.

WILLIAM L. SMITH, Brooklyn - Has had little training m art. Works as a mechanic. Work shown m Harmon Exhibit. 1928. BRIEF SKETCHES OF NEGRO ARTISTS

CHARLES SPEARS, Jr.. South Carolina- Born 1902 in North Carolina; entirely self-educated. Wounded in the war and has been a National Service Officer of the Disabled American Veterans of the World War. Work shown in Harmon Exhibit 1930. TERESSA SIMPSON STAATS, New Jersey-Born 1894 in Alabama; graduated from Tuskegee; studied at Columbia University, and N. J. School of Fine and Industrial Arts. A teacher, and painted scenery for school operetta. No previous exhibits. Work shown in Harmon Exhibit 1933. JESSE C. STUBBS, Detroit—Born in Tennessee; attended Roger Williams College and studied at the Art Institute of Chicago. Has done commercial art work in Detroit. Work shown in Harmon Exhibit 1930. MARY LEE TATE. Cincinnati—Born in Kentucky; graduated University of Cincinnati. Also studied at Cincinnati Art Academy and University of Chicago. Work shown in Harmon Exhibits 1928; 1929; 1930; 1931.

U. S. GRANT TAYES, St. Louis—Born 1885 in Missouri; attended high school and college; is self-taught in art. Exhibited at the Central Library in St. Louis 1929, 1930. 1931, 1932, 1933, where he has won several prizes; also exhibited at St. Louis Art Guild; Art League; Urban League and Lincoln University. Work shown in Harmon Exhibit 1930. / WILLIAM HENRY TAYLOR, Alabama - Born 1908 in Alabama, student at Atlanta School of Social Work. Took general art course in high school and junior college. Exhibited at Alahama State Teachers College, 1932. Work shown in Harmon Exhibit 1933. D. NORMAN TILLMAN, Youngstown, Ohio -Born in 1899 in Pennsyl­ vania; educated at Wilberforce Government Reserve; studied art at the Penn­ sylvania Academy of Fine Arts also under private instruction. A commercial artist by occupation, he does portraits in leisure time and cultivates music as a hobby. Member of the Mahoning Society of Painters in Youngstown. Work shown in Harmon Exhibits 192,8; 1029'; 1930; 1931.

EVELYN TOMPKINS. New Jersey Born 1882 in Georgia; attended Y.W.C.A.Art School and Fawcett Art School in Newark. Exhibited at Exposition of Women's Arts and Industries Y.W.CA. Brooklyn. Work shown in Harmon Exhibit 1928. JOHN E. TOODLES, New York- Born 1,893 in Washington, I). C; at­ tended public schools. Had no formal art education. H's been a letter carrier for eleven years. Exhibited at Y.M.C.A. Indianapolis and New Orleans. 1930. Work shown in Harmon Exhibits 1929; 1930.

LOUIS OLIVER VAUGHN, New York -Born 1910 in New York; student at National Academy of Design. Of West Indian parentage. No previous exhibits. Work shown in Harmon Exhibit 1933. LAURA WHEELER WARING, Philadelphia—Studied at the Pennsylvania Academy of Fine Arts and later had a travelling scholarship abroad Teaches art in the Cheyney Training School for Teachers. Exhibited in the Corcoran 54 BRIEF SKETCHES OF NEGRO ARTISTS

Gallery in Washington; Art Institute of Chicago and the Pennsylvania Academy. Received Harmon Gold Award in Fine Arts. 1927. Work shown in Harmon Exhibits 1928; 1930; 1931.

JAMES LESESNE WELLS, Washington, D. C—Born 1902 in Atlanta; attended school in Florida and studied at Lincoln University and Columbia. Spent three and one-halt years at the National Academy of Design. Is now instructor in art at Howard University. Has had one man shows at the Delphic Studios, 1932; , 1932. Also exhibited in College Art Association Travelling show; National Block Print Society; American Prints at the Delphic and Downtown Galleries in New York; and Phillips Memorial Gallery in Washington. His Flight Into Egypt presented to Hampton Institute; The Entry to Jerusalem in the Phillips Memorial Gallery. Received Harmon Gold Award in Fine Arts. 1931. Work shown in Harmon Exhibits 1931; 1933.

EDGAR ALBERT WIGGINS, New York—Born in Chicago, 1904. Studying in School of United Arts. Has worked as porter, bellhop, auto mechanic. Pen and ink drawings shown at Harmon Exhibit, 1928.

RICHARD MILBY WILLIAMS, Chicago—Educated through primary grades in rural schools. A charter member of the Chicago Art League, and has received recognition tor his paintings of famous aviators. A portrait by him of Lindbergh was purchased by the Roosevelt High School in Chicago. Employed as a janitor and sings in a radio quartette. Work shown in Harmon Exhibit 1931.

SIMEON SIR HENRY WILLIAMS, Ohio Born 1888 in Kentucky; studied at Wilberforce University and in Cincinnati Academy of Fine Arts. Began teaching art in 1926. Work shown in Harmon Exhibit 1930.

ELLIS WILSON, New York Born 1899 in Kentucky; graduate of the Art Institute of Chicago. Son of an artist, and has worked for an interior decorator and done commercial art work in Chicago. Employed as board boy in a broker's office. Won the Charles S. Peterson Prize for an African poster as an art student. Exhibited at the 135th Street Branch of the N. Y. Public Library; African Art Center, New York; Washington Square Exhibit, 1932. Work shown in Harmon Exhibits 1930; 1933.

JOHN LOUIS WILSON Jr., New York -Born in Mississippi, 1899. ( Iraduate of New Orleans University and studied architecture at Columbia University. Previously working as draftsman for architects, has now opened his own office as architect. Designs shown at New Orleans University, 1930 and at the Harmon Exhibit, 1928.

SUZANNE WILSON—Work shown in Harmon Exhibit, 1928. ARTHUR G. WINSLOW, Chicago—Born in Indiana; attended Purdue University. Studied under Utrillo, and particularly interested in the inter­ pretation of Biblical themes. Has twice worked his way around tbe world. Paints in spare hours from his work in a hotel. Work shown in Harmon Exhibits 1930; 1931. ™JW *•»»••'• '« F1 •-•.,."1 . •"•- .« Jl •.'—"•!'•—• — ilH>«— I •••• .»—••" r BRIEF SKETCHES OF NEGRO ARTISTS 55 HALF; A. WOODRUFF, Atlanta Born 1900 in Illinois, attended public schools in Nashville. Was Y.M.C.A. Secretary in Indianapolis for four year.-, when recognitions in art brought opportunity for study abroad. Now acting as art instructor at Atlanta University. Received Harmon Bronze Award in Fine Arts, 1926. Work shown in Harmon Exhibits 1928; 1929; 1930; 1931; 1933.

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MURAL AT WEST 135TH STREET BRANCH OF THE Y. M.C. A. By William Edward Scott

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HEAD or A GIRL William EUisworth Anis

Rcaivtil John Hope I't'izc in Sculpture $100