104 East 25th Street, New York, NY 10010  | 
(212) 254-4710  |  Mon - Fri, 10AM - 6PM
Follow Us:
  • We are happy to call you during the auction and place bids on your behalf. To arrange phone bidding, please call Swann's bid department during business hours.

    (212) 254-4710 ext. 0
    Mon - Fri 10AM - 6PM

     

    Or, e-mail a list of lots with the sale number and your contact information to phonebids@swanngalleries.com. Be sure to include a phone number where we can reach you.

    Bids may also be submitted via fax. Send a list of lots with the sale number and your contact information to (212) 979-1017. You will receive a confirmation before the sale.

    Sale 2518 | Lot 8
    Price Realized: $22,500With Buyer's Premium
    Show Hammer Price
    • Click Image To Enlarge

      Additional Images
    • Sale 2518 Lot 8

      AUGUSTA SAVAGE (1892 - 1962)
      Gamin.

      Plaster painted light brown, circa 1929. 229x146x111 mm; 9x5 3/4x4<3/8> inches. With both the artist's signature and name incised, verso.

      Provenance: gift from the artist; private collection, New Jersey (1940-1941); thence by descent to the current owner, New Jersey.

      An iconic image of the Harlem Renaissance in sculpture, this strong example of Gamin has fine modelling with an unusual coloring. Savage made smaller versions of Gamin after her life-size plaster and subsequent bronze. These small casts were typically painted black or gold to resemble a bronze sculpture.

      Recent research has established the identity of the subject of Gamin. The Smithsonian American Art Museum located a May 1940 article in the Chicago Defender referencing the model as Savage's "little nephew" who had come to live with his aunt in Harlem after his home in Florida was damaged by a hurricane. Curator Jeffreen M. Hayes, organizer of the exhibition Augusta Savage: Renaissance Woman at the Cummer Museum, Jacksonville, further demonstrates that the model was her nephew. In the Augusta Savage Papers, the Schomburg Center for Research in Black Culture, Hayes found the following Savage quotation in a 1935 interview with the Federal Art Commission: "I bought some materials, set a dry goods box on the living room table, stood my nephew alongside the table, and worked practically all night, till we were both exhausted."

      Gamin was a turning point in Savage's career. Theresa Leininger-Miller describes how Gamin brought Savage success at the end of the 1920s. Out of 10 works on display at Harlem's 135th Street branch of the New York Public Library, Charles Russell Richards, the art director of the General Education Board of New York, singled out Savage, recognizing Gamin as a significant work. Romare Bearden and Harry Henderson explain how two Harlem businessmen, Eugene Kinckle Jones, of the National Urban League, and John E. Nail, brother-in-law of James Weldon Johnson, also singled out Gamin for acclaim. Daniel Schulman also notes how the sculpture helped Savage win the first Rosenwald Fund fellowship ever awarded to a visual artist in May of 1929 - the president of the Rosenwald Fund Edwin Embree even ordered a cast of Gamin for himself. Gamin was illustrated on the cover of the June issue of the magazine Opportunity that year. Hayes p. 69; Leininger-Miller pp. 178-179; Bearden/Henderson p. 172; Schulman pp. 52-54.

      Estimate $20,000 - 30,000


      Price Realized (with Buyer's Premium) $22,500