173
●
(ART.) LAWRENCE, JACOB.
The “And the migrants kept coming . . .”
Series of 26 color illustrations from his 60 panel “exodus” series, printed here for the first
time on seven pages in Fortune Magazine for November, 1941. Large, thick 4to, original
pictorial wrappers. An excellent copy.
New York, 1941
[400/600]
Fortune was the first mainstream magazine to feature an African American artist’s work. First
exhibited at New York’s Downtown Gallery and almost simultaneously appearing in the pages
of Fortune, Lawrence’s series literally put him on the map
174
●
(ART.) HERSHEY, JOHN [LAWRENCE, JACOB]
Hiroshima.
Illustrations by
Jacob Lawrence. 4to, original full black morocco in the publisher’s slipcase.
New York: Limited Edition Club, 1983
[600/800]
FIRST EDITION THUS
.
NUMBER
648
OF FIFTEEN HUNDRED COPIES SIGNED BY JOHN
HERSHEY
,
ROBERT PENN WARREN AND JACOB LAWRENCE
.
175
●
(ART.) SAVAGE, AUGUSTA—TERESA STAATS.
Lift Every Voice and
Sing.
Gelatin silver print photograph, 9
3
⁄
4
x 7
3
⁄
4
inches, mounted on a large piece of card-
board (14 x 11) , with the title, the photographer’s name and date of the photograph in
pencil on the mount.
New York, 1940-1941
[800/1,200]
A photograph of a magnificent piece of sculpture by African American artist and sculptor
Augusta Savage (1892-1962). This piece was commissioned by the New York World’s Fair
Committee for the African American exhibit in 1939. Her work was titled Lift Every Voice
and Sing, inspired by the song (now the African American anthem) written by James Weldon
and Rosamond Johnson. The 16-foot-tall sculpture was the most popular and most pho-
tographed work at the fair. Small metal souvenir copies were sold (today worth thousands of
dollars), and many postcards of the piece were made. Tragically, Savage did not have funds to
have this large work cast in bronze, or even the money to move and store it. So, like other tem-
porary installations, the sculpture was destroyed at the close of the fair. Fragments of the piece
have appeared on the market from time to time. The photographer Teresa Staats (1892-19?)
was a graphic artist and painter, who obviously thought this wonderful piece was worth preserv-
ing if only the image. She is cited in the Harmon Foundation Exhibits of 1933.
173
174
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