Elizabeth Catlett (1915-2012) Black Maternity, 1959 Lithograph on wove paper, signed in pencil, titled and dated, from the edition of 50, with margins, framed. 14 1/4 x 9 7/8in (36.2 x 25.1cm) sheet 18 3/8 x 12 3/4in (46.7 x 32.4cm)
ELIZABETH CATLETT (1915 - 2012) The Co-Founder Award (Making a Way Out of No Way). Cast bronze with a dark brown patina, on a wooden base, circa 1995. 445 mm; 17½ inches high (not including wooden base). Approximately 50 cast to date. Incised initials on the base edge. Provenance The Links Foundation. Dr. Dolly Adams, The Links 8th National President from 1982–1986. Presented to Dr. Adams at the 1994 Platinum Awards Gala. Private collection, Georgia.
ELIZABETH CATLETT (1915 - 2012) Prissy II. Lithograph on cream wove paper, 1987. 572x381 mm; 22½x15 inches, full margins. Signed, titled, dated and numbered 24/50 in pencil, lower margin.
ELIZABETH CATLETT (1915 - 2012) New Generation. Color lithograph, 1992. 805x505 mm; 31⅜x20 inches, full margins. Signed, titled, dated and numbered XIX/XXV in pencil, lower margin. Printed by JK Fine Art Editions, New York, with the blind stamp, lower right. Published by Seagrams, Ltd., New York.
ELIZABETH CATLETT (1915 - 2012) Red Leaves. Color lithograph on cream wove paper, 1978. 533x444 mm; 21x17½ inches, full margins. Signed, dated and numbered 86/100 in pencil, lower margin.
ELIZABETH CATLETT (1915 - 2012) Mother and Child. Cast bronze with a brown patina, mounted on a wooden base, 1977-78. 390x180x170 mm; 15¼x7x6¾ inches. Initialed "EC" and numbered "7" and "7/10" on the lower back side. Provenance Dr. Dorothy M. Tucker, Los Angeles. Private collection, New York. Published S. Lewis, The Art of Elizabeth Catlett, Handcraft Studios, Claremont, CA, 1984, page 33-34, 84 and 156. (illustrated).
ELIZABETH CATLETT (1915 - 2012) Negro Woman. Lithograph on wove paper, 1945. 306x220 mm; 12x8⅝ inches, wide (full ?) margins. Proof, from an edition of approximately 20-30. Signed, titled, dated '46 and inscribed "20/PRINTS" in pencil, lower margin, by Charles White in 1946. Printed at the Art Students League, New York.
Elizabeth Catlett 1915-2012 Survivor 1983 linocut on Arches paper 9-1/4 x 7-1/2 inches (image) signed, titled, dated and numbered, 432/1000 Provenance: private collection, Philadelphia, PA
Elizabeth Catlett 1915-2012 On the Subway 1986 offset lithograph on wove paper 23 x 17-1/2 inches (sheet) signed, titled, dated and numbered 121/300 Provenance: private collection, New York
Elizabeth Catlett 1915-2012 For My People 1992 For My People (poem by Margaret Walker (1915-1998), written in 1937, accompanied by 6 lithographs by Elizabeth Catlett in a bound book), The lithographs are on Arches paper 22-1/2 x 18-1/2 inches Signed by Margaret Walker and Elizabeth Catlett, numbered, 375/400. Book cover in red Japanese linen and clamshell in brown linen. Published by the Limited Editions Club, New York, This book is included in the collection of the Museum of Modern Art, New York.
Elizabeth Catlett 1915-2012 In the Fields 1946/printed 1989 Linoleum cut print 10-1/8 x 7-5/8 inches (sheet) 9 x 6-1/16 inches (image) Signed, titled, dated, and numbered 17/20 From, The Negro Woman, 1946-47 (retitled The Black Woman, 1989) Provenance: private collection, New Jersey
Elizabeth Catlett 1915-2012 Gossip 2005 photolithograph and digital print on Somerset wove paper 15-1/2 x 18 inches (image) 22-1/2 x 24 inches (sheet) signed, titled, dated and numbered 89/200 Printed by the Rutgers Center for Innovative Print and Paper, NJ, with blind stamp lower left. Published by the New York Print Club.
Elizabeth Catlett 1915-2012 Torso 1994 black marble on a wood base 14-1/2 x 7-1/2 x 4-3/4 inches (not including base) initialed E.C. Provenance: Bill Hodges Gallery to a private collection, Chicago Illustrated: African American Artists (Bannister to Mitchell), February 6-April 3, 1999; Bill Hodges Gallery. pp.14-15 (and on front and back cover). Elizabeth Catlett Sculpture, A Fifty Year Retrospective, Neuberger Museum of Art (similar example, p. 98)
Charcoal on paper painting by Elizabeth Catlett, 1915 to 2012, an African-American and Mexican sculptor and graphic artist best known for her depictions of the Black-American experience in the 20th century, which often focused on the female experience. The artwork depicts a childs profile portrait. Signed by the artist and dated 1968 in the lower right. White mat, golden frame. Collectible Graphic Art, Women Artists.
Elizabeth Catlett 'Madonna' offset lithograph. Signed, dated 1982 and titled in the plate to lower margin. Viewable measures 9 1/8" x 7 3/8". Frame measures 15 1/2" x 12".
Elizabeth Catlett 'I have special reservations...' offset lithograph. Signed, dated 1956 and titled in the plate to lower margin. Viewable measures 5 3/4" x 5 3/8". Frame measures 15" x 15".
Elizabeth Catlett (Mexican-American, 1915-2012). "Mimi" linocut, 2007. Printer's proof. Hand-signed with date beneath image at lower right. Titled with "P.P." beneath image at lower left. Publisher's blind stamp at lower right. Published by Segura Publishing Company, Tempe, Arizona. A striking linocut by the renowned sculptor and graphic artist Elizabeth Catlett, depicting the head of a Black-American woman, likely civil rights activist Mimi Jones, facing right. The stark portrait is rendered in thick lines with intense and heavy shading that grant an air of determination and focus to the subject. Catlett is best known for her depictions of the Black-American experience in the 20th century, which often focused on the female experience, as seen in this example. She once stated, "I have always wanted my art to service my people - to reflect us, to relate to us, to stimulate us, to make us aware of our potential." Size of linocut: 9.875" W x 7.875" H (25.1 cm x 20 cm); of sheet: 16" W x 14.875" H (40.6 cm x 37.8 cm) On June 18, 1964, a group of protesters including Mimi Jones jumped into the whites-only pool at the Monson Motor Lodge. The manager James Brock poured muriatic acid in an attempt to separate the integrationists and get them to leave the pool. The moment was captured by photographer Horace Cort and would lead to a series of popular photos taken during the St. Augustine movement. Jones recalled that she couldn't breathe in the aftermath of Brock's actions and that she had no idea of how impactful the swim-in would be. The photos were broadcast all over the globe and they would eventually capture the attention of the White House and then-President Lyndon B. Johnson. Johnson would sign the Civil Rights Act of 1964 into law on July 2, 1964, less than a month after the protests. About the artist: "What makes a work of art revolutionary? For the artist and educator Elizabeth Catlett, the answer depended on who the work addressed. Motivated by a conviction 'to put art to the service of people,' Catlett produced sculptures and prints across her more than six-decade career that drew on her personal experiences as an African American woman, mother, and emigre living in Mexico. Directly addressing people whose perspectives and experiences, like hers, had historically been excluded from artistic representation, Catlett developed a distinctive visual language defined by its carefully delineated forms and strong compositional focus. Merging the political with the personal, her work influenced younger generations of artists, including many associated with the Black Arts movement of the 1960s and '70s, who shared her activist principles and commitment to harnessing art for Black liberation. Catlett was born in Washington, DC, in 1915. Despite the racial and gender barriers limiting educational and career opportunities for Black women at the time, Catlett decided at an early age to become an artist. She enrolled at Howard University in 1931, taking courses in design, drawing, printmaking, and art history. After a stint as an art teacher, Catlett attended the University of Iowa, becoming the first student to receive a Master in Fine Arts degree from the University. It was during this period that she began making sculptures in wood, plaster, clay, and bronze, encouraged by her instructor, American Regionalist painter Grant Wood, who, she recalled, advised her to make art about 'something you know the most about.' Wood's directive fueled Catlett's artistic output, inspiring her to represent women, Black people, and the working class, the subjects she knew best. In 1946, Catlett traveled to Mexico with a Julius Rosenwald Fellowship, proposing to complete 'a series of lithographs, paintings, and sculptures of Negro women in the fight for democratic rights in the history of America.' Realized as 15 linoleum cuts,4 her series The Black Woman depicts the everyday realities, achievements, and fears of Black women, as well as matriarchal figures, including abolitionists Sojourner Truth and Harriet Tubman and author Phillis Wheatley. Collectively, the prints offer an expansive view of Black womanhood, while at the same time inviting viewers to intimately connect with and act as surrogates for Catletts subjects through the first-person narrative captions that accompany each image. In both form and content, the series was heavily influenced by the paintings of Mexican muralists of the era and the revolutionary graphic arts produced at El Taller de Grafica Popular (the People's Graphic Workshop), a reform-minded print workshop committed to collaboration, accessibility, and social causes. Catlett made the series at the Taller, an experience that shaped her understanding of printmaking as a consciously political practice. Although Catlett originally envisioned her stay in Mexico as a brief visit, she permanently relocated to the country in 1947, marrying fellow artist Francisco Mora, with whom she had three sons. Catlett likely drew on her experiences as a mother when making the terracotta Mother and Child, which recasts the white Madonna and Child iconography with Black subjects. Offering a vision of Black maternal love, Catlett pictures the mother and child in a close embrace, their quiet repose and introspective tenderness lending the sculpture an air of gravity, even monumentality, despite its intimate scale. Catlett employed a pre-Hispanic method of sculpting that she learned from the artist Francisco Zuniga to make the work, using coils of terra cotta to build the hollow form. With this and thematically related works, Catlett became one of the first African American artists to consistently visualize Black motherhood. Despite being at a geographic remove, Catlett remained keenly aware of and involved in Black peoples political efforts in the United States throughout the 1960s and '70s. Such works as Malcolm X Speaks for Us declare her support for the Civil Rights movement and solidarity with those fighting for equality. Her leftist political involvement led the US to label her an 'undesirable alien,' and for over a decade, she was barred from entering the country of her birth (her US citizenship was not reinstated until 2002). Catlett remained undeterred. Unable to obtain a visa to attend a conference held in her honor at Northwestern University in 1970, Catlett gave her remarks by phone, declaring, ' have been, and am currently, and always hope to be a Black Revolutionary Artist, and all that it implies!' (source: artist bio on Museum of Modern Art website) Provenance: private Bozeman, Montana, USA collection, acquired before 2015; consignor was co-owner of Segura Publishing Company, Tempe, Arizona and acquired this piece directly from Segura during his tenure 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. 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Elizabeth Catlett 1915-2012 Gossip 2005 photolithograph and digital print on Somerset wove paper 15-1/2 x 18 inches (image) 22-1/2 x 24 inches (sheet) signed, titled, dated and numbered 89/200 Printed by the Rutgers Center for Innovative Print and Paper, NJ, with blind stamp lower left. Published by the New York Print Club.
Elizabeth Catlett 1915-2012 Children with Flowers 1995 color lithograph 25-1/4 x 18-1/2 inches (image) 32-1/2 x 23-1/2 inches (sheet) signed, dated, and numbered 134/150 blind stamp JK Fine Art Editions , NY Provenance: The Bill Savage Collection, Pittsburgh
Elizabeth Catlett 1915-2012 Dance 1988 commemorative ceramic plate 9-3/4 (1 inch deep) label verso, numbered 68/100 Produced in cooperation with Greenbriar Mall (Atlanta, GA) and the 1988 Artists' Market of the National Black Arts Festival
Elizabeth Catlett 1915-2012 Survivor 1983 linocut on Arches paper 9-1/4 x 7-1/2 inches (image) signed, titled, dated and numbered, 432/1000 Provenance: private collection, Philadelphia, PA
Elizabeth Catlett 1915-2012 Mother and Child 1980 bronze 23 inches high on 2-3/4 inch base signed and dated. Provenance: private collection, Houston, TX Exhibited and illustrated: Elizabeth Catlett, A Fifty-Year Retrospective, Neuberger Museum of Art, Purchase College, State University of New York, February 8-June 7, 1998 (the exhibition traveled to Blaffer Gallery, University of Houston, TX; Baltimore Museum of Art, MD; Museo de Arte Moderno, Mexico City, Mexico; and Spelman College Museum of Fine Art, Atlanta, GA); p. 78 (cat. #36). Note: This is the exact sculpture included in the book and exhibition, however, the catalog incorrectly states the date as 1978. Elizabeth Catlett: A Black Revolutionary Artist and All That It Implies is a current exhibition at the Brooklyn Museum (September 13, 2024âJanuary 19, 2025). The exhibition features a larger version of this image made in wood.
ELIZABETH CATLETT (1915 - 2012) Mimi. Linoleum cut on Chine collé, 2007. 202x253 mm; 8x10 inches, full margins. Printer's proof, aside from the edition of 90. Signed, titled, dated and inscribed "PP" in pencil, lower margin. Published by Segura Publishing Company, Tempe, Arizona, with the blind stamp lower right.
Elizabeth Catlett Lithograph [Mother And Child]. Unsigned lithograph circa 1959. Elizabeth Catlett (1915 - 2012), Born Alice Elizabeth Catlett. Both her parents, children of freed slaves, worked in education, her father taught math at Tuskegee University then in the D.C. public school system, her mother as a truant officer. Her father died before she was born so she was raised by her mother and grandmother who told her many stories which apparently inspired her many depictions of black women in her art. Catlett enrolled at Howard University where she graduated with honors in 1935 and then went on to earn her MFA in sculpture at the University of Iowa. At the University of Iowa she created lithographs, linoleum cuts, and sculpture in wood, stone, clay, and bronze. In 1946, she received a grant which enabled her to move to Mexico City. She joined the Taller de Gráfica Popular, known for its political printmakers, and later taught at the National School of Fine Arts in Mexico City from 1958 until her retirement in 1976. She was a prolific artist who continued producing art well into her 90's (died in 2012 at 98 yrs of age). Her ongoing theme and commitment was depicting black faces in all the various forms of art she created, showing not only the hardships and the injustices but the beauty and tenderness at the heart of black people's lives in the U.S. It is said that museums and galleries have held more than 50 solo exhibitions of Catlett's sculptures and prints. Measures 14.5 x 10 inches image size. VG-EX/EX condition with barely noticeable toning over image area, only apparent slightly bordering the image. Unframed, loose and nor glued or mounted. Provenance: Estate collection of William Greenbaum, Gloucester, Massachusetts, Proprietor of William Greenbaum Fine Prints. If lot is absent of a condition report one may be requested via email. Condition report is provided as an opinion only and is no guarantee as condition can be subjective. Buyer must view photographs or scans to assist in determining condition and ask further questions if so desired. Our in-house shipping department will gladly pack and ship any item that fits into a 14x14x14 inch or 30x5x24 inch or equivalent or smaller box/folio if it is not fragile or over 25lbs. We will charge for labor to pack and process based on actual time it takes, actual cost of materials used to pack and actual shipper charges that will include insurance and signature required. We generally use USPS and Fed Ex and compare the pricing between the two. Books maximum box size will be 14x14x14 inch or equivalent and will be shipped USPS Media Mail unless otherwise requested. We gladly will give shipping estimates prior to auction. Please make this request at least 24 hours prior to auction for our shipping department to respond. If your invoice is for multiple items, we will use our discretion on requiring the use of an outside shipper. We reserve the right to require an outside shipper on any item(s) in the auction even if not stated.
Elizabeth Catlett Lithograph [Black Is Beautiful]. Unsigned lithograph from 1973 portfolio. Elizabeth Catlett (1915 - 2012), Born Alice Elizabeth Catlett. Both her parents, children of freed slaves, worked in education, her father taught math at Tuskegee University then in the D.C. public school system, her mother as a truant officer. Her father died before she was born so she was raised by her mother and grandmother who told her many stories which apparently inspired her many depictions of black women in her art. Catlett enrolled at Howard University where she graduated with honors in 1935 and then went on to earn her MFA in sculpture at the University of Iowa. At the University of Iowa she created lithographs, linoleum cuts, and sculpture in wood, stone, clay, and bronze. In 1946, she received a grant which enabled her to move to Mexico City. She joined the Taller de Gráfica Popular, known for its political printmakers, and later taught at the National School of Fine Arts in Mexico City from 1958 until her retirement in 1976. She was a prolific artist who continued producing art well into her 90's (died in 2012 at 98 yrs of age). Her ongoing theme and commitment was depicting black faces in all the various forms of art she created, showing not only the hardships and the injustices but the beauty and tenderness at the heart of black people's lives in the U.S. It is said that museums and galleries have held more than 50 solo exhibitions of Catlett's sculptures and prints. Measures 13.5 x 9.975 inches image size and 18.5 x 13 inches sheet size. VG-EX/EX condition with barely noticeable toning over image area, only apparent slightly bordering the image. Unframed, loose and nor glued or mounted. Provenance: Estate collection of William Greenbaum, Gloucester, Massachusetts, Proprietor of William Greenbaum Fine Prints. If lot is absent of a condition report one may be requested via email. Condition report is provided as an opinion only and is no guarantee as condition can be subjective. Buyer must view photographs or scans to assist in determining condition and ask further questions if so desired. Our in-house shipping department will gladly pack and ship any item that fits into a 14x14x14 inch or 30x5x24 inch or equivalent or smaller box/folio if it is not fragile or over 25lbs. We will charge for labor to pack and process based on actual time it takes, actual cost of materials used to pack and actual shipper charges that will include insurance and signature required. We generally use USPS and Fed Ex and compare the pricing between the two. Books maximum box size will be 14x14x14 inch or equivalent and will be shipped USPS Media Mail unless otherwise requested. We gladly will give shipping estimates prior to auction. Please make this request at least 24 hours prior to auction for our shipping department to respond. If your invoice is for multiple items, we will use our discretion on requiring the use of an outside shipper. We reserve the right to require an outside shipper on any item(s) in the auction even if not stated.
ON THE SUBWAY Offset lithograph, 1986, on wove paper, signed, dated, titled and numbered 50/300 in pencil, with full margins, unframed. Image 16 1/2 x 11 1/2 inches; 419 x 292 mm. Sheet 23 1/16 x 17 5/16 inches; 586 x 440 mm.
PENSIVE Lithograph, 1985, on Arches paper, signed, dated, titled and numbered 21/50 in pencil, with full margins, framed. Image 10 1/8 x 8 inches; 257 x 203 mm. Sheet 22 1/2 x 15 1/4 inches; 572 x 387 mm. Frame 23 1/4 x 16 1/8 inches; 591 x 413 mm.
Artist/Designer; Manufacturer: Elizabeth Catlett (Mexican/American, 1915-2012) Marking(s); notes: signed, blind stamp; ed. 89/200; 2005 Materials: color digital print with photo-lithograph on Somerset white paper Dimensions (H, W, D): 22.5"h, 23.75"w (work is not framed) Additional Information: Lot is accompanied by print documentation issued by the Rutgers Center for Innovative Print and Paper, dated 9.7.2005. "What makes a work of art revolutionary? For the artist and educator Elizabeth Catlett, the answer depended on who the work addressed. Motivated by a conviction “to put art to the service of people," Catlett produced sculptures and prints across her more than six-decade career that drew on her personal experiences as an African American woman, mother, and emigre living in Mexico. Directly addressing people whose perspectives and experiences, like hers, had historically been excluded from artistic representation, Catlett developed a distinctive visual language defined by its carefully delineated forms and strong compositional focus. Merging the political with the personal, her work influenced younger generations of artists, including many associated with the Black Arts movement of the 1960s and ’70s, who shared her activist principles and commitment to harnessing art for Black liberation." (source: moma.org)
Man woodcut and linocut in color, 1975, signed in pencil, printed in 2003 in an edition of 250, The Print Club of Cleveland publication no. 83 for 2005. 17 3/4 x 12''
ELIZABETH CATLETT (1915 - 2012) Mis Hijos (Mis Niños). Linoleum cut on Federal Ledger paper, 1955. 264x350 mm; 10⅜x13¾ inches, full margins. Proof, aside from an unknown edition. Signed, titled in English, dated, and inscribed "A/P" in pencil, lower margin. Another impression of this scarce print is in the permanent collection of the Studio Museum in Harlem.
ELIZABETH CATLETT (1915 - 2012) Triangular Woman. Bronze with a brass patina on a wooden base, 1980. 635x330×483 mm; 25x13x9 inches. Incised initials on the back side left edge. Provenance: acquired directly from the artist, the estate of Edward and Bettiann Gardner, Chicago. The owners co-founded Soft Sheen Products, Inc. in 1964 which became one of the largest African American owned hair care manufacturing companies in the United States. They were important patrons of the arts in Chicago and part owners of the Chicago Bulls. Elizabeth Catlett made several versions of this distinctive figure sculpture between 1979 and 1997, including in bronze, polychromed mahogany and amber onyx.
ELIZABETH CATLETT (1915 - 2012) Two Generations. Lithograph on wove paper, 1979. 432x509 mm; 17x20 inches, full margins. First edition (of 2). Signed, titled, dated and numbered 16/100 in pencil, lower margin. Printed by Raul Cabello in Mexico at his "taller de experimentación yproducción gráfica," or " TEPG," with the printer's blind stamp, lower left.
ELIZABETH CATLETT (1915 - 2012) Reclined Figure. Black marble, mounted on a stained wood base, 2005. 913x381x292 mm; 32x15x11½ inches (not including the base.) Incised "EC" initials, lower right side. Provenance: acquired directly from the artist; private collection, Mexico; private collection, Washington, DC, acquired from Swann Galleries, June 10, 2014. Reclined Figure embodies Elizabeth Catlett's late sculptural work in a beautiful, highly polished black marble. Catlett consistently chose to represent African American figures while bringing out the inherent beauty of her sumptuous materials; Catlett stated "I like to finish sculpture to the maximum beauty attainable from the material from which it is created." This sculpture is part of an impressive body of work in stone carving, one that spanned seven decades. Catlett first gained national attention as an artist with her stone carving Mother and Child, the centerpiece of her 1940 MFA thesis at the University of Iowa. Catlett wrote in her thesis, "stone imposes a certain discipline which cannot be ignored." Her work won First Award in Sculpture in the 1940 American Negro Exhibition in Chicago and James A. Porter included an image and description of Mother and Child in his 1943 Modern Negro Art. Continuing her long career in stone carving into the 21st Century, Catlett's work transforms classical notions of the reclining figure into a representation of the strength and character of African American women. The proud pose and simplified forms of Reclined Figure convey a woman's character and confidence. Catlett's 1997 Stargazer, a similar black marble reclining figure, was the namesake of the 2011 exhibition Stargazers: Elizabeth Catlett in Conversation with 21 Contemporary Artists at the Bronx Museum of the Arts. In 2002, Catlett also made a bronze version in this same reclined pose titled Mahalia, referencing the legendary gospel singer Mahalia Jackson.
ELIZABETH CATLETT (1915 - 2012) Portrait in Black. Lithograph on Fabriano paper, 1978. 360x292 mm; 14⅛x11½ inches, full margins. Signed, titled, dated, and numbered 11/26 in pencil, lower margin.
ELIZABETH CATLETT (1915 - 2022) Gossip. Color photolithograph and digital print on Somerset wove paper, 2005. 394x457 mm; 15⅜x18 inches, full margins. Signed, titled, dated and numbered 38/200 in pencil, lower margin. Printed by the Brodsky Center for Innovative Print and Paper, Rutgers University, with the blind stamp lower left. Published by the New York Print Club.
ELIZABETH CATLETT (1915 - 2012) Man. Woodcut and color linoleum cut, 1975. 450x302 mm; 17¾x11⅞ inches, full margins. Second edition of 250, printed in 2003. Signed, titled, and dated in pencil, lower margin. Printed by J.K. Fine Art Editions Co., Union City, NJ, with the blind stamp lower left. Published by the Print Club of Cleveland, with the blind stamp lower left.
ELIZABETH CATLETT (1915 - 2012) Fiesta. Color screenprint on BFK Rives paper, 1988. 674x482 mm; 26⅝x19 inches; full margins. Signed, titled, dated and numbered 143/200 in pencil, lower margin.
ELIZABETH CATLETT (1915 - 2012) Mother and Son. Lithograph in brown on wove paper, 1972. 250x342 mm; 9x13 1/2 inches, full margins. Second edition (of 2) printed in 2003. Signed, titled, dated, inscribed "2nd ed." and numbered 20/25 in pencil, lower margin.
ELIZABETH CATLETT (1915 - 2012) Mother and Child. Cast bronze, with a golden patina, cast in two parts, 1985. Approximately 229x216x121 mm; 9x8½x4¾ inches. Incised with the artist's initials "EC", lower left backside edge. Provenance: the collection of Gene and Joan Vass; by descent; private collection, California. Gene Vass (1922-1996) was a noted Abstract Expressionist painter and sculptor. Joan Vass (1925-2011) was a celebrated knitwear designer and the founder of the company bearing her name. This striking bronze sculpture is comprised of two pieces that fit together - the mother and child were cast separately. Elizabeth Catlett's image of maternity has the child sit inside the open space of the abstracted mother. Catlett made several versions of this popular subject in different material - including black marble, mahogany and orange onyx.
ELIZABETH CATLETT (1915 - 2012) Torture of Mothers. Color lithograph on wove paper, 1970. 330x470 mm; 13x18½ inches, full margins. Second edition, printed in 2003. Signed, dated, titled and numbered 20/25 in pencil, lower margin.
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