Wheat, Ellen Harkins:Jacob Lawrence: The Frederick Douglass and Harriet Tubman Series of 1938-40
- exemplaire signée 2017, ISBN: 9780961698256
Edition reliée, Première édition
U.S. Goverment Printing Office. Collectible - Good. Washington: U.S. Goverment Printing Office, 1934. 1st edition. Sm 4to. v,89pp. Illus. Good book. (American art, Public Works of Art P… Plus…
U.S. Goverment Printing Office. Collectible - Good. Washington: U.S. Goverment Printing Office, 1934. 1st edition. Sm 4to. v,89pp. Illus. Good book. (American art, Public Works of Art Project) Inquire if you need further information., U.S. Goverment Printing Office, 2.5, New York City, Ny: Contemporary Play Publications, 1938. 1st Edition 1st Printing. Hardcover. Near Fine/Good. 133 Pp. Red Cloth, Gilt. First Edition. Near Fine, Gilt Bright. Dust Jacket Worn, Small Chips And Tears. Inscribed By The Author To Social Artist William Gropper And His Wife. Emjo Basshe (Born Emmanuel Iode Abarbanel Basshe Or Emanuel Joseph Jochelman (1898 -1939) Was A Lithuanian-Born Jewish American Playwright Of Spanish Descent, A Recipient Of A 1931 Guggenheim Fellowship, And One Of The Initial Members In 1935 Of The Communist Party-Founded League Of American Writers. He Immigrated To The United States In 1912, Graduating From Columbia University In 1919. He Began His Theatrical Career With The Provincetown Playhouse And, In 1920, Went To Massachusetts, Working With Boston's Peabody Playhouse, Then Chelsea Arts Theatre And Cambridge's Castle Square Players, All During 1920-22. Returning To Provincetown Playhouse, He Remained Until The Premiere In 1925 Of His Play, Adam Solitaire, Directed By Stanley Howlett, And Featuring 19-Year-Old John Huston. Basshe Then Moved To Pennsylvania, Becoming Director Of The Stage Repertory Of Philadelphia, Where His Three Short Plays, The Bitter Fantasy, The Star And Soil Were Presented. Again Returning To New York, Basshe Co-Founded, With Four Others, The New Playwrights Theatre, Initially Finding A Temporary Home At The 52Nd Street Theatre, Where It Premiered, On March 9, 1927, His New Play, Earth, Directed By Russell Wright And Hemsley Winfield. On November 29, 1927, Basshe's New Play, Centuries, Set Among Jewish Residents Of A New York City Tenement House, Had Its Premiere. Directed By The Author, The Production Had A Cast Of 27, Including Future Film Star Franchot Tone, And Lasted For 39 Performances. Continuing As A Director, Basshe Next Helmed The Playhouse's Production Of Upton Sinclair's Prison-Based Drama, Singing Jailbirds, Which Featured Future Character Star, Lionel Stander, As One Of The Prisoners. Premiering On December 6, 1928, The Play Lasted 79 Performances. Provincetown Playhouse Dissolved In April 1929 And Basshe Pursued His Career As A Broadway Director At Other Venues, Co-Supervising North Carolina Playwright Paul Green's Musical Drama, Roll, Sweet Chariot, Set, According To Its Description, In "A Negro Village Somewhere In The South". The Production Premiered At The Cort Theatre On October 2, 1934 And Lasted 7 Performances. Another Green Play Directed By Basshe, Turpentine, Opened June 26, 1936 And Closed In August, Following 62 Performances. On May 13, A Month Before The Premiere Of Turpentine, Basshe's Anti-War Satire, The Snickering Horses, With A Cast Of 34, Was Staged At Daly's 63Rd Street Theatre As The Concluding Presentation Of Works Progress Administration's Federal Theatre Project Experimental Theatre Three-Performance Cycle Of Three One-Act Plays, With The Other Two Being George Bernard Shaw's Great Catherine: Whom Glory Still Adores And, Condensed Into One Act By Alfred Saxe, Molière's The Miser. In January 1939, Basshe Staged A Production Of Three One-Act Plays: Paul Vincent Carroll's The Coggerers (Later Renamed The Conspirators), Jean Giraudoux's Mr. Banks Of Birmingham And Josephinna Niggli's The Red Velvet Goat, Which Opened At The Hudson Theatre On January 20, 1939 And Closed The Following Day. The Sf Encuclopedia Says That In General His Plays Can Be Understood As Agitprop, And Seem To Have Been Particular Successful At The Heart Of The Great Depression, Before The New Deal Began To Rescue America From The Effects Of Unmonitored Capitalism. Of Sf Interest Is Doomsday Circus: A Dramatic Chronicle (1938), Seemingly Unproduced During His Lifetime, An Expressionist, Hortatory Burlesque With Some Similarities To Elmer Rice's The Adding Machine, In Which The Coming Near Future Ownership Of The World By A Single Multi-Tentacled Corporation Is Rendered As A Circus., Contemporary Play Publications, 1938, 3.25, 1945. Color print. 12.25 x 9.75 inches. Light foxing. Signed in ink by the artist. Caricature of Josef Stalin as a bird of prey smoking a pipe and standing on a branch. Notes - K59561 U.S. Copyright Office. - "Birds of our time" - Plate no. 3. Artist and caricaturist Justin Murray was born in Minneapolis, Minnesota. He moved to Los Angeles with his family and won a scholarship at the Chouinard School of Art based on his drawing talents. Murray produced murals and theatrical scenery for the Federal Arts Project. Moving to San Francisco in the late 1930s, his popular caricatures appeared regularly in The San Francisco Chronicle and Coast magazine. In addition, Murray produced a number of freelance caricatures of San Francisco life that found a ready market. His work is held by numerous institutions including the Library of Congress, the San Diego and Oakland Museums, and the New York Graphic Society. In 1973, Murray moved to Mendocino, California, where he died in 1987. Provenance: From the estate of the San Francisco based film critic and B. Traven scholar Judy Stone (1924-2017), sister of I. F. Stone (1907-1989), the muckraking journalist ., 1945, 0, 1945. Color print. 9.75 x 12.25 inches. Light foxing. K59559 U.S. Copyright Office. - "Birds of our time." - Plate no. 1. Signed in ink by the artist. Caricature of Franklin D. Roosevelt as a sea bird. Artist and caricaturist Justin Murray was born in Minneapolis, Minnesota. He moved to Los Angeles with his family and won a scholarship at the Chouinard School of Art based on his drawing talents. Murray produced murals and theatrical scenery for the Federal Arts Project. Moving to San Francisco in the late 1930s, his popular caricatures appeared regularly in The San Francisco Chronicle and Coast magazine. In addition, Murray produced a number of freelance caricatures of San Francisco life that found a ready market. His work is held by numerous institutions including the Library of Congress, the San Diego and Oakland Museums, and the New York Graphic Society. In 1973, Murray moved to Mendocino, California, where he died in 1987. Provenance: From the estate of the San Francisco based film critic and B. Traven scholar Judy Stone (1924-2017), sister of I. F. Stone (1907-1989), the muckraking journalist ., 1945, 0, Hampton Univ, 1991-06-01. Hardcover. Like New. 9x9x0. [From the library of Dr. Ralph Gomes, Howard University.] Hardcover and dust jacket. Dust jacket in protective mylar cover. Good binding and cover. Minor shelf wear. Clean, unmarked pages. <br> "Jacob Armstead Lawrence was born in Atlantic City, New Jersey, in 1917. The son of Southern migrants, he moved with his mother and sister to Harlem in 1930 at age 13. There, during his participation in community art workshops, Lawrence quickly discovered his love of art through the encouragement of teachers such as painter Charles Alston. Throughout the 1930s, Lawrence's art was inspired by the cultural visionaries of the Harlem Renaissance. In 1938, Lawrence had his first solo exhibition at the Harlem YMCA and started working for the WPA Federal Art Project. In 1940, he received a grant from the Rosenwald Foundation to create a 60-panel epic, The Migration of the Negro (now known as The Migration Series); when the series was exhibited at Edith Halpert's Downtown Gallery the following year, the then 23-year-old artist catapulted to national acclaim. In the ensuing decades, Lawrence continued to create paintings drawn from the African American experience as well as historical and contemporary themes, such as war, religion, and civil rights. He taught with Josef Albers at Black Mountain College in North Carolina in 1946 and later at the Skowhegan School of Painting and Sculpture in Maine. He moved to Seattle in 1971, teaching at the University of Washington until 1983. During his later years, Lawrence worked in a variety of media, including large-scale murals, silkscreen prints, and book illustrations. Until his death in 2000, Lawrence honed a unique visual language of abstraction that remained steeped in the human condition." - Phillips Collection <br> Dr. Gomes was a professor at Howard University for 49 years in sociology and criminology. He was also a former Olympic athlete, representing Guyana in the 1960 Rome summer Olympics. Besides his scholarly work, Gomes was active in the black liberation movement. He had an impressive and deep collection of black art, historical advertising and iconography that spoke of the passage of black people and how they sought to record their life stories. His collection spanned from slavery, to antebellum life, to Jim Crow, to the Harlem Renaissance, to sport, to the civil rights movement. <br> This is an oversized or heavy book, which requires additional postage for international delivery outside the US., Hampton Univ, 1991-06-01, 5<
