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Lot 61: William "Bill" Walker, 1927-2011, Free Now, Acrylic on canvas, 44 x 38 inches

Est: $10,000 USD - $15,000 USDSold:
Black Art AuctionINDIANAPOLIS, IN, USNovember 14, 2020

Item Overview

Description

William "Bill" Walker
1927-2011
Free Now
Acrylic on canvas
1971
Signed and dated.

In August of 1967, on the southeast corner of 43rd and Langley Streets, Chicago, Illinois, a group of African American artists came together to paint the landmark mural that sparked a people’s art movement. William “Bill” Walker was instrumental in the creation of the Wall of Respect. The purpose of the project was to “honor our Black heroes and to beautify our community.” It soon became, in the words of fellow artist Jeff Donaldson:

“An instantaneous shrine to Black creativity, a rallying point for revolutionary rhetoric and calls to action, and a national symbol of the heroic Black struggle for liberation in America.”

Cities across American followed suit with murals of their own. Bill Walker continued to paint murals in the city of Chicago, as he had painted them before 1967, solidifying his role as father of the community mural movement - capturing the “human side of street life in the city.”

Bill Walker was born in 1927 in Birmingham, Alabama. An only child, he was initially raised by his grandmother in a desperately poor ghetto of “bleak little shacks” with outhouses known as Alley B. In 1938, he was sent north to Chicago to join his mother who worked as a seamstress and hairdresser. They lived in a variety of places in the Washington Park area and he eventually attended Englewood High School. Walker was drafted in WWII and re-enlisted to receive college tuition under the GI Bill. He was a mail clerk, then an MP with the 99th Pursuit Squadron, the all black command under which the Tuskegee Airmen fought. In 1947, he painted his first murals while in the military. While stationed in Columbus, Ohio he became friends with Samella Lewis. He often stayed with her family and assisted her on a few commissions.

In 1949 he enrolled in the Columbus Gallery School of Arts. He began studying commercial art and later switched to a concentration in fine art. Walker won the school’s 47th Annual Group Exhibition “Best of Show” award in 1952. He was the first African-American to do so. Walker credits Joseph Canzani with encouraging his interest in mural painting. At school he studied the early Renaissance fresco painters. It wasn’t until after his graduation that he learned about the Mexican muralists - Diego Rivera, David Siqueiros, and Jose Clemente Orozco. He was particularly impressed with the way they incorporated structural elements in to their compositions. Walker also cited Jacob Lawrence, Charles White, and William McBride as important influences.

After graduation, Walker headed to Nashville and Memphis where he painted murals for a Baptist church, a local Elks club, and the Flamingo Club, a nightclub near Beale Street. While researching and preparing to complete another mural of a plantation scene, he had an important epiphany. He realized he needed to create art that spoke for those who had been marginalized. Walker returned to Chicago and worked as a decorative painter for a variety of north-side interior designer firms.

By the mid 1960s, Walker was formulating an idea for a mural in the area near 43rd and Langley which never came to fruition. However in May of 1967, the Organization of Black American Culture was formed and the opportunity again arose. OBAC was cofounded by artist Jeff Donaldson, sociologist Gerald McWorter, and Hoyt Fuller, editor of Negro Digest, and was dedicated to visual art, music, writing, dance, and theater. Walker floated the idea of a mural at the location. The group couldn’t just simply paint a mural and leave it at that. Walker knew the neighborhood well and secured permission from business owners, community leaders, and street gangs. The residents were a big part of the process as well. Jeff Donaldson and Eliot Hunter, Wadsworth Jarrell, Barbara HoguJones, Caroline Lawrence, Norman Parish, Edward Christmas, Myrna Weaver and many others contributed sections to the wall. Walker was responsible for the section on religious leaders. Walker had originally painted the portraits of Black Muslim leader Elijah Muhammad, Nat Turner, and Wyatt Walker, a New York minister and civil rights activist, but when threatened with a lawsuit by Muhammad, who did not want to be pictured on the same wall as Malcolm X, he erased the section and replaced it with a composition of Nat Turner.

The members of the OBAC eventually drifted apart- some, Donaldson, Jarrell, Jones, and Lawrence formed AfriCobra- and Walker, who remained in the neighborhood, came to be the “guardian of the wall.” As a result of the impact the Wall of Respect had in Chicago, similar walls were created in cities across the country. Walker worked on the Wall of Dignity in Detroit and the Wall of Truth, which was located across the street from the Wall of Respect. He co-founded the Chicago Mural Group (now known as the Chicago Public Art Group) with John Pitman Weber and Eugene Eda and completed more than 30 murals over the next four decades in working-class Chicago neighborhoods. In 1975, he formed his own mural group known as International Walls, Inc.

Walker turned increasingly to studio art in the late 70’s. Chicago State University held the exhibition, Images of Conscience: The Art of Bill Walker in 1984. The exhibit consisted of 44 paintings and drawings in three series: For Blacks Only; Red, White, and Blue, I Love You; and Reaganomics. The show was not without controversy as the images presented were not pretty, but dark representations of urban black neighborhoods. The exhibition traveled to the Vaughn Cultural Center, St. Louis and the Paul Robeson Cultural Center, Pennsylvania State University.

Most recently, Walker’s work was presented in the exhibition Bill Walker: Urban Griot, held at the Hyde Park Art Center, November 2017 - April 2018.

“The artist-to-people communication is the kind of relationship that would place the artist and his work in a position of respect, pride, and dignity—all of which he should have. These views are not based on the feelings of an idealist hoping for something that cannot be or believing in something he has never experienced. They are founded on the grounds of experience. Experience of talking with people in a community during the time that the art project is in progress; of discussing the conditions of their problems and the world and trying to realize how art can become more relevant to the people of the world.”
—Bill Walker, Black Artists on Art, v. 2, Lewis/Waddy, 1971
44 x 38 inches

Dimensions

44 x 38 inches

Artist or Maker

Medium

Acrylic on canvas

Condition Report

generally good condition; unlined, no holes, tears, or in-paint, nicely framed in a contemporary white molding.

Payment & Shipping

Payment

Accepted forms of payment: American Express, Discover, MasterCard, Personal Check, Visa, Wire Transfer

Shipping

It is our goal to make shipping as safe and efficient as possible. Many of the works in this sale are unframed, allowing us to safely ship these works to your door at a minimal expense - often around $100 - and allows the buyer to have it framed to their liking. Some works are nicely framed and behind glass and we can recommend a number of third party shippers who are capable of packing and shipping those safely. For the handful of larger lots in this sale we are happy to work with the third party shipper of your choice to make this as effortless as possible.

Auction Details

Fall Auction

by
Black Art Auction
November 14, 2020, 12:00 PM EST

1497 N. HARDING STREET, INDIANAPOLIS, IN, 46202, US

Terms

Live bidding may start higher or lower

Buyer's Premium

$0 - 100,000:25.0%
$100,001 - 1,000,000:20.0%
$1,000,001+:12.0%

Bidding Increments

From:To:Increment:
$0$499$25
$500$999$50
$1,000$2,999$100
$3,000$4,999$250
$5,000$9,999$500
$10,000$29,999$1,000
$30,000$49,999$2,500
$50,000$99,999$5,000
$100,000+$10,000

Terms of Sale

TERMS OF SALE?
Each lot in a BLACK ART AUCTION and/or catalog is subject to the following terms and conditions of sale, as supplemented in writing or otherwise by us at any time prior to the sale. By registering to bid, bidding, or purchasing in any way a lot from BLACK ART AUCTION, the client agrees to be bound by these terms.

Auction

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The estimates that appear with each lot description are approximations reflecting the range in which the hammer price may fall. Some lots are subject to a reserve, the price below which an item cannot be sold. In most instances, the reserve is less than the low estimate.
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?$0-500   $25 increments?$500-1,000   $50 increments?$1,000-3,000   $100 increments?$3,000-5,000   $250 increments?$5,000-10,000   $500 increments?$10,000-30,000   $1,000 increments?$30,000-50,000   $2,500 increments?$50,000-100,000   $5,000 increments?$100,000+ $10,000 increments

Additional increments will be at the auctioneer's discretion.

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The buyer's sole remedy, and BLACK ART AUCTION's sole liability, under this warranty shall be the cancellation of the sale of the Lot in question, or (if the sale has already concluded) the refund of the purchase price originally paid by such buyer for the Lot in question (not including any late fees, taxes, shipping, storage or other amounts paid to BLACK ART AUCTION in accordance with these Terms). Buyer hereby waives any and all other remedies at law or equity with respect to breaches of this warranty.

Paintings, Drawings, Prints and Bronzes: 

Objects are guaranteed to be an authentic work by the artist listed. Any and all information listed in the catalog not printed in bold type should be considered as being to the best of our knowledge, is merely our opinion, and is not guaranteed to be correct. If the authenticity of a purchased object is contested, it must be made known to us within 30 days of the sale in which the object was purchased as follows: a written letter from a noted authority provided to us that declares the object to be executed by someone other than the artist listed. This authority may not have any vested interest in the artist's work or the estate of the artist. The object must be returned to us in the same condition in which it was purchased. If it is determined that a piece is not authentic, only the purchase price may be refunded; there will be no compensation for damages, loss of profit, professional fees, transportation or any other costs. The normal darkening of varnish over time isn't considered to be problematic, and accordingly any such darkening will not be noted in the description.

Fine Art Frames, Picture/Photo Frames: 

Every effort is made to protect the frames included with these lots during pre-auction storage and post-auction shipping; however, BLACK ART AUCTION shall not be responsible for any damage to frames, and no refunds will be granted due to frame damage. Frames may not include original easel backing.

PURCHASING

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If your Bid is the winning bid at auction, you agree to pay the following charges associated with the purchase of such Lot:

Hammer Price
Buyer's Premium which will be added to the winning bid as follows: which is
25% of the Hammer Price up to and including $100,000
20% of the portion of the Hammer Price in excess of $100,000 and up to and including $1,000,000
12% of the portion of the Hammer Price above $1,000,000
An additional premium may added to any successful bid accepted thru a third-party site.
All other "Buyer's Costs" - including any applicable sales tax, late payment charges, storage fees, Enforcement Costs or other costs, damages or charges assessed in accordance with these Terms. All purchases will be subject to state sales tax unless the buyer has provided us with a valid certificate of exemption from such tax.


PAYMENT

BLACK ART AUCTION accepts cash, check, American Express, Visa, and MasterCard for payment. If paying with cash or check, BLACK ART AUCTION may require verification of identity and confirmation of permanent address. If paying by credit card, an additional 3% convenience fee is payable on the total purchase price, which includes hammer price, buyer's premium, tax if applicable, and shipping cost, if any.

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Please contact BLACK ART AUCTION for a list of third party shippers.

Shipping Terms

It is our goal to make shipping as safe and efficient as possible. Many of the works in this sale are unframed, allowing us to safely ship these works to your door at a minimal expense - often around $100 - and allows the buyer to have it framed to their liking. Some works are nicely framed and behind glass and we can recommend a number of third party shippers who are capable of packing and shipping those safely. For the handful of larger lots in this sale we are happy to work with the third party shipper of your choice to make this as effortless as possible.